Androcles and the Lion
Tags: satire, philosophical

Plot synopsis:
Androcles, a fugitive Christian tailor, accompanied by his nagging wife, is on the run from his Roman persecutors. While hiding in the forest he comes upon a wild lion who approaches him with a wounded paw. His wife runs off. Androcles sees that the cause of the animal's distress is a large thorn embedded in its paw, which he draws out while soothing the lion in baby language.
Androcles is captured and is sent to the Colosseum to be executed with other Christians in gladiatorial combat. They are joined by a new Christian convert called Ferrovius, who struggles to reconcile his Christian principles with his violent inclinations. The Roman captain guarding them is attracted to the genteel convert Lavinia. Eventually the Christians are sent into the arena, but Ferrovius kills all the gladiators before they can harm any Christians. He is offered a job in the Praetorian Guard, which he takes. The Christians are to be released, but the crowd demands blood. To satisfy them, Androcles offers himself to be savaged by lions. But the lion that is supposed to kill him turns out to be the one that Androcles saved, and the two dance around the arena to the delight of the crowd. The emperor comes into the arena to get a closer look, and the lion attacks him. Androcles calls him off and the emperor is saved. He then declares an end to the persecution of Christians. Androcles and his new 'pet' depart together.

Review: From 1938 to 1950 Pascal only produced three films but they were PYGMALION with Leslie Howard and Wendy Hiller, MAJOR BARBARA with Hiller, Robert Morley, Rex Harrison, and Robert Newton, and CAESAR AND CLEOPATRA with Vivian Leigh, Claude Rains, Steward Granger, and Flora Robson.
However, Pascal only produced one last film, ANDROCLES AND THE LION.
The casting was quite unique, in that the roles were played by pretty well known actors: Newton again, Alan Mowbray, Reginald Gardiner, Victor Mature, Jean Simmons, and Maurice Evans.
He gives a nice performance as a soft-spoken, meek Androcles, who represents the truest spirit of Christianity of all the characters in the film (most of whom do not fully grasp the simplicity and quiet goodness at the heart of the faith).
Pascal and Howard Hughes did come up with an odd casting of the lead role that was not seen to it's conclusion to the everlasting loss of motion pictures.
Androcles was not originally cast for Alan Young, but for Harpo Marx.
There were discussions with Harpo to play the role, and there may have been some actual footage shot for about a month, when Hughes decided it was not going to work out.
Leaving a great hole in the story: what was the original film to be - was Harpo to perform his usual way (pantomime) or did he actually essay for the first time in his career to speak the lines.
In a lengthy letter to the editor in the October 1960 issue of "Films in Review," a very young Robert Osborne supplies some erudition on the casting of "Androcles and the Lion." According to the film historian, shooting began with Harpo Marx in the title role and continued under the direction of Chester Erskine for five weeks.
Osborne states that the film's producer and Shaw impresario Gabriel Pascal thought him "the perfect Androcles," and maintains that the rushes were thought to be "brilliant." However, RKO studio boss Howard Hughes had recently seen Alan Young on a TV show, and impetuously insisted that the part be recast.
The two other stars, Robert Newton and Jean Simmons, making her American film debut, were able to stay.Although IMDb trivia claims that Harpo was only considered for the role, Mr. Osborne's reputation, gravitas, and record of film scholarship gives this anecdote credibility.
Incredibly Fleischer ended up reshooting virtually the entire film when Hughes suddenly decided he now wanted Raymond Burr as the villain and had a large expensive set built in the studio tank for a superfluous sight gag involving Vincent Price that lasted only a few seconds on screen.Although it's unlikely that any of this footage will surface, if indeed it exists, but one can always hope.P.S. Victor Mature had a refreshingly off-beat sense of humor, and unlike other egotistical stars of the period, never took himself too seriously.
Such is the hammy comedy on offer here, Androcles And The Lion, adapted from a George Bernard Shaw play, is an enjoyable picture if one is prepared for just what a ham sandwich it is.
The cast, featuring Victor Mature, Jean Simmons, Alan Young and Robert Newton, play it as cardboard cutouts {Simmons possibly the only one taking it serious}, with the technical aspects so bad I dare you not to laugh out loud as Young dances with a man in a Lion suit!!Don't take it serious and you should be OK, and I'm certainly not annoyed that I sat thru it, but I would rather wrestle a Lion and two Tigers before I had to sit and watch it again!
A famously bad movie of a minor Shaw play, Androcles and the Lion isn't bad so long as one doesn't approach it expecting a sparkling and witty adaptation along the lines of Major Barbara.
To be fair to producer Garbriel Pascal, who loved Shaw's work dearly, and director Chester Erskine, an experienced theatre man, the play wasn't that good to start with.
In trying to make their picture look like a spectacle, and casting hunky Victor Mature in a major role, Pascal and Erskine at least give the viewer something pleasing and familiar to look at.
In the roles as early Christians, Alan Young and Robert Newton make a terrific pair, and ought to have been co-starred again.
Mr. Young's endearingly innocent, child-like and effeminate Androcles makes a fascinating contrast with Newton's bellowing, hyper-virile Ferrovius, and one wonders, if one adds to the mix the mere presence of Victor Mature, was going on subliminally in the minds of Pascal and Erskine when they cast this film.
In reference to a previous comment, the Lion's name, Tommy, comes from the original text of Shaw's play at the end of Act II.
Androcles also talks baby talk to the Lion while he is removing the thorn from his paw in the Prologue (or first scene) of the play.
Also I think Victor Mature does a pretty good job as the Captain, although some might be put off by the clash of his accent and acting style with the rest of the mostly British cast.
The sentiment certainly sets a bench mark for measuring what Shaw may have accomplished in his charming, witty examination of a "Greek wizard" Christian (Androcles) who finds animals of all stripes and species more lovable and easy to get along with than his long (and vocally) suffering wife and neighbors.It also may explain why Hollywood missed with this neatly produced filming despite a number of inspired casting choices (Maurice Evans as Caesar, Elsa Lanchaster as Androcles' wife & Robert Newton as the warrior/Christian, Ferrovius) and deft directorial touches.In trying to focus on the "family friendly" (deadly words in the Hollywood lexicon) aspects of Shaw's charming satire, the film gives a bad case of the "cutsies" to the central role (it would have been interesting to see this Alan Young performance before he became so identified with his role, Wilbur, in TV's iconic MR.
ED) and soft pedals or ignores most of the legitimately humorous byplay among his fellow Christians who wish martyrdom to wildly varying degrees and the infighting of the professional gladiators who echo (in somewhat more bloodthirsty fashion) the outrageous practicality of Captain Bluntschli in Shaw's early ARMS AND THE MAN.Having made the decision to play the lion *as* a lion (before or after Harpo Marx departed the production?), the delicious hold on adult satire Shaw infused his play with was probably a lost cause, but what remains remains a very pleasant diversion worth a Saturday afternoon.
For lovers of good Shaw however, it's more than a little watered down - perhaps most surprising of all, more watered down that the later equally enjoyable musical version Richard Rodgers and Peter Stone did for TV with Noel Coward as Caesar and Norman Wisdom as Androcles!.
This 1952 film was the first film version of a George Bernard Shaw play produced after the playwright's death, and the compromises are already obvious.Shaw had had artistic control over three films produced from his plays-- the 1938 "Pygmalion", "Major Barbara" (1941) and "Caesar and Cleopatra" (1945), and his influence had clearly been felt, some would say for both good and bad.
He had had absolute final say-so over the casting, and, after his experience with "Pygmalion", Shaw became somewhat more demanding and insisted that not a word be cut from both "Major Barbara" and "Caesar and Cleopatra", a decision that resulted in both of these excellent films being flops.
"Androcles and the Lion" clocks in at less than two hours.The casting suffers without Shaw's influence.
Because this is an RKO release directed by Chester Erskine, a not especially distinguished American director, the cast features two American actors in major roles, and the clash between their style of acting, and that of the British actors who HAVE had experience with Shaw, is apparent.
Some other American actors can be seen in bit roles.In a blatant effort to court the average movie audience who wouldn't recognize a Shaw play if it hit them in the face, movie hunk Victor Mature (yes, the very same actor who appeared in "The Robe" and "Samson and Delilah") is cast in the somewhat demanding role of a Roman captain trying to understand the Christian martyrs.
An actor like James Mason or Stewart Granger might have been perfect and would have had the necessary acting ability, but Mature, although apparently trying hard, comes close to wrecking the film and destroying its Shavian flavor.
And he gets second billing!Alan Young, whom most people will remember as Wilbur from the "Mr.Ed" TV series, is also American, but is a far better actor than Mature, and although his style sometimes seems as if it straight out of a sitcom rather than a Shaw play, Young does quite a good job in the all-important lead role of Androcles.
Or is that just another sop to the movie-going crowd who loves animals with cute names?The rest of the cast is just fine--Jean Simmons excellent, and not syrupy, as a devout woman willing to face martyrdom in the arena, Robert Newton, hilarious as a hulking strongman converted to Christianity who can barely be kept from singlehandedly demolishing his enemies, Noel Willman, Elsa Lanchester in the brief role of Androcles' wife, and, in his best screen performance, Maurice Evans (Dr. Zaius in the 1968 "Planet of the Apes") as the Roman emperor.
In the midst of the 1950s biblical craze, Hollywood created a film about a group of slaves who are rounded up and sent to the gladiator pit to fight a lion, because they are Christians.
That theme isn't necessarily a bad one, especially since Hollywood made a ton of biblical films in the 1950s and 1960s, but the ridiculous feel of the film ruins it, not to mention the over-the-top moronic performance of Alan Young as the title character, Maurice Evans as Caesar, Elsa Lanchester, Gene Lockhart, Robert Newton, Jim Backus—the list goes on.
Jean Simmons, a Christian slave, and Victor Mature, a Roman soldier who falls in love with her, aren't particularly over-the-top, but the few scenes they have together are hardly worth it.
In reality, if he'd been found hiding and protecting a slave, and if she'd repeatedly sassed her captors, they both would have been killed.Alan Young loves animals, so when he comes across an injured lion in the middle of the road, he coos it with baby talk and takes the thorn out of his paw.
I'm not even sure what the point of it all was (perhaps that, throughout all times, Christians have been annoyingly self-righteous, but at least during Roman days, you could feed them to lions), and it's a pretty big mess.
Alan Young plays Androcles, a comedic character with a hen-pecking wife (Elsa Lanchester, really playing it up - I have to wonder why they didn't have her carry a rolling pin).
Also among those sacrifices are Jean Simmons, a beautiful young Christian, and Robert Newton, a pious warrior.
Young is amusing in his way, and Evans is quite amusing, but the real reason to watch this film are for Simmons and Newton, both of whom are wonderful.
Victor Mature is the least successful member of the cast, playing an army captain who falls for Simmons.
Alan Young is perhaps most famous for playing Wilbur on Mr. Ed, but to my generation he's even better known as the voice of Scrooge McDuck in stuff like Mickey's Christmas Carol and, of course, DuckTales.
In the opening scene 2 "romans" are in discussion about the forthcoming games with 1 remarking..."Im going into the country to catch a load of Christians for your games"....then switches to the "lower members of society" who are laughing about "being fed to lions"....seriously poor dialogue which isn't worth any viewing time.
I assume back in his day, the Brits thought that George Bernard Shaw was incredibly brilliant and droll for concocting the play "Androcles and the Lion".
The film has wasted the talents of everyone associated with it and the likes of John Hoyt, Victor Mature and Jean Simmons clearly were given third-rate material.
I remember after all these years, watching Alan Young, Mr. Ed's owner, waltzing with a lion in the Coliseum in Rome.
Mr. Young, who apparently just turned 96 years old, a character actor of some merit, plays an insipid man who, in a most dingle-jolly way, is taken with a group of Christian prisoners to provide entertainment.
Why the pretty young Christian girl played by Jean Simmons would want anything to do with someone so boring, I don't know.
From that George Bernard Shaw used the fable to write a satire on the early Christian religion.
I'm not sure what Aesop or Shaw might have thought of Androcles And The Lion in this form.It's an interesting film and above all the acting of Alan Young in the title role as the almost child like Androcles the tailor carries the film over a couple of bumpy spots.
Later on Alan Young played that ultimate of animal lover Wilbur Post in Mister Ed.Shaw was trying to say that there are many kinds of Christians and there are other forces in personality that will determine which tenets of Christianity or for that matter any religion will dominate in one.
Gentle Christian woman Jean Simmons spurns the love of praetorian Victor Mature, but Newton's performance in the arena saves them all.Finally there's Young who is thought of as a sorcerer and that scares them more than possibly being a Christian.
He bears the cross of his partner with a cheerful acceptance, but you get the feeling that Christian martyrdom might just be a way out of a bad marital situation.Aesop might not recognize his tale, but enough of Shaw's observations on life remain intact in Androcles And The Lion..
This good deed later proves to be his salvation when he meets up with the lion again in the Colosseum.NOTES: Last of Gabriel Pascal's four films, all adaptations of Shaw plays.
Originally, Harpo Marx was cast as Androcles, Rex Harrison as Caesar, Dana Andrews as the Captain and George Sanders as Lentulus.
By the time this was all settled and shooting was ready to get under way again, only Jean Simmons and Robert Newton were still available to continue in their original roles.
As a result of Hughes' antics and his decisive interference, Androcles and the Lion is only remembered today as one of Hollywood's costliest failures.COMMENT: Commences in sprightly fashion, but unfortunately, mingled with the excellent wit, satire and comedy is a banal little romance involving Jean Simmons and Victor Mature of all people who rattles off lines about his "dooty" as a soldier until we are blue in the face with boredom.
Fortunately, a brilliant performance by Maurice Evans as Caesar virtually saves the film, though Gene Lockhart and Reginald Gardiner also contribute some deftly-played scenes.
Whatever the reverse of deja vu is you'll find it here inasmuch as three of the cast played similar roles in similar films within a year of two of this one.
John Hoyt went on to play Decius Brutus in Mank's Julius Caesar whilst Jean Simmons played an almost identical role to the one here in The Robe in which Victor Mature also appeared.
Other than that there is little remarkable in this fairly affable adaptation of George Bernard Shaw's satire on early Christianity written, as the majority of Shaw's work, for the theatre.
Alan Young makes a decent fist of the eponymous Androcles and though he played a couple more leads his career faded within the decade.
Jean Simmons made her US debut here and went on to enjoy several decades of success whilst most of Victor Mature's best work (Kiss Of Death, Easy Living, was behind him.
Jean Simmons as Lavinia is the best performance overall in this film.
Alan Young as Androcles.
A giant of a man who struggles with trying to be a good Christian but controlling his almost evil like temper that makes him want to beat up or kill those who get in his way.
I agree it would have been a good idea to decide which kind of movie was going to be made with Shaw's story.
The great playwright George Bernard Shaw takes a step up to the pulpit to preach the desires of the early Christians to either worship their savior (and just one God) or be willing to be put to death in this light comedy which will touch the soul (of those it doesn't offend) as did another movie from this era with the same co-stars in search of "The Robe".Fleeing from the Romans to the hills, milquetoast Alan Young and his harpy wife Elsa Lanchaster stop to rest when they are confronted by a male lion.
But Androcles is captured (whatever happens to his wife is never explained) and on the journey back to Rome to be fed to their own lions, he meets former sinners Jean Simmons and Robert Newton, as well as soldiers Alan Mowbray, Jim Backus and Victor Mature.
A huge cast of familiar faces pop up in a variety of smaller roles, with Maurice Evans as a very regal Cesar and Gene Reynolds as a pompous Roman longing to see at least one Christian being devoured.Obviously painted backdrops give a theatrical feeling to the Rome setting and several encounters with lions are phony, filmed in a truly comical manner.
A few gladiator battles show the violence and gore that the Christians must have had to deal with, and Newton's battle with several of them is extremely gripping as his character is torn over his past obsession with his bad temper which often lead to violence and his new devotion to Jesus.The love match between the beautiful Simmons and the masculine Mature is a reminder of their participation in "The Robe" the following year, as well as several other films made during this time.