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Quo Vadis? (1924)

G | | Drama | 1924 (Austria)
Watch the Apostles and other followers like Saul preach the gospel and spread the message of love and hope in this high quality entertaining animated feature for your kids and family.


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Credited cast:
Emil Jannings ... Nerone
Elena Sangro ... Poppea (as Elena Di Sangro)
Rina De Liguoro ... Eunica
Lillian Hall-Davis ... Licia
Andrea Habay ... Petronius
Raimondo Van Riel Raimondo Van Riel ... Tigellinus
Gildo Bocci Gildo Bocci ... Vittelius
Gino Viotti ... Chilone Chilonides
Alphons Fryland ... Vinicius
Bruto Castellani ... Ursus
Elga Brink ... Domitilla
Rest of cast listed alphabetically:
Arnold Kent ... Roman Guard (as Lido Manetti)
Marcella Sabbatini Marcella Sabbatini ... Girl
Lucia Zanussi Lucia Zanussi


Watch the Apostles and other followers like Saul preach the gospel and spread the message of love and hope in this high quality entertaining animated feature for your kids and family.

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based on novel | See All (1) »


The Roman Banquet The golden glories, the unrivaled luxuries, the wine, the dance, the song, the beautiful women, the sumptuous splendors that taxed a barbaric world for a night of feasting and revel- re-created for your entertainment in the most colossal drama produced. (Print Ad- Daily Argus, ((Mount Vernon NY)) 6 June 1925)




G | See all certifications »




Release Date:

1924 (Austria) See more »

Also Known As:

Quo Vadis See more »


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Technical Specs

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Aspect Ratio:

1.33 : 1
See full technical specs »

Did You Know?


Bruto Castellani previously portrayed Ursus in Quo Vadis? (1913) See more »

Alternate Versions

A version of this film with music and sound effects was released in 1929. See more »


Version of Quo Vadis? (1913) See more »

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User Reviews

QUO VADIS? (Gabriellino D'Annunzio and Georg Jakoby, 1925) ***
6 April 2010 | by Bunuel1976See all my reviews

This film (one I had given up for lost but which is actually readily accessible now – in nine separate installments – on "You Tube"!) is a testament to the development of early cinema from one decade to the next. While the 1912 version of this historical spectacle (watched a couple of days previously) today comes across as very primitive, in both cinematic technique and acting style, this shows considerable refinement in most aspects of production – emerging a fairly accomplished epic that can be seen to have influenced Cecil B. De Mille's THE SIGN OF THE CROSS (1932; which followed an almost identical plot line while sharing with it some of its leading characters!). The latter film is noted for its Pre-Code emphasis on brutality and eroticism; these elements, to a lesser extent, are also present even here (with, for instance, a couple of Nero's undesired minions being fed alive to his flesh-eating eels in the very first scene!). That said, apart from the obvious dominance of the great German star Emil Jannings (as Nero, who really takes center-stage here), the rest of the characters still receive underwhelming interpretations (with the biggest liability in this case being the rather fey hero Vinicius and his severely underwritten romantic interest Lygia!) – especially in comparison with the definitive 1951 Hollywood rendition (running almost twice as much as both previous adaptations!). Nevertheless, the essence of the tale is very much here (with even some figures, like the slimy Chilonedes, I had completely forgotten about from viewings of the later version{s} – which, to be fair, it has been some 20 odd years since). However, as with many of these solemn efforts, the plot begins to bore well before the end – given a central romance fraught with cliff-hanging situations at every turn, or it may simply be that I watched both Silents in too close a proximity! There are, however, a number of 'new' scenes involving Nero: the death of his son (mentioned but not seen in the 1912 film), his consulting with a mediumistic old hag and his own lecherous intentions on the heroine – which, given his frizzy hairdo and penchant for harp-playing, one could liken Jannings to a bloated version of Harpo Marx! The film's centerpiece, depicting the burning of Rome, is quite well done but, then, the climax in the arena (lions feasting on Christians and Lygia's burly protector Ursus – played by the same actor as the earlier adaptation! – battling a bull) still feels somewhat rushed. Bafflingly, rather than Miklos Rozsa's score for the 1951 QUO VADIS, the musical accompaniment for the copy I watched of the film under review unofficially borrowed several cues from the same composer's legendary work for another much-filmed spectacular about Ancient Rome i.e. BEN-HUR (1959) – albeit giving them an electronic makeover by being played on a synthesizer! For the record, although I have acquired a handful of other rare Silent epics – CABIRIA (1914), NATHAN THE WISE (1922), SODOM AND GOMORRAH (1922), SALOME' (1923), the two-part HELENA (1924), etc. – these will have to await their turn until next year's Holy Week (at the very least)...

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