In 1955, filmmakers faced a new challenge: biblical films were booming, but the depiction of Jesus remained a sensitive issue. MGM’s solution was to adapt a story Jesus told—the Parable of the Prodigal Son—while avoiding the controversial portrayal of Jesus himself. This approach allowed MGM to capitalize on the popularity of biblical narratives without directly depicting the central figure of Christianity.
Key Points
The Challenge of Adapting a Biblical Parable
The Parable of the Prodigal Son had seen previous adaptations, particularly in the silent film era, where its concise and visual storytelling fit well with the medium’s limitations. However, with the advent of longer films, stretching the parable’s material to fit feature-length runtimes became challenging. MGM’s adaptation aimed to revive interest in this sub-genre, boasting a production budget comparable to 20th Century Fox’s “The Robe” and claiming to be “The Biggest Picture Ever Filmed in Hollywood.”
Star Power and Casting Choices
Without Jesus as the central character, MGM focused on star power, casting Lana Turner as Samarra, the high priestess, and Edmund Purdom as Micah, the prodigal son. This casting decision mirrored Columbia’s earlier move of casting Rita Hayworth in “Salome,” leveraging star appeal and the genre’s flexibility to feature more revealing costumes without losing respectability.
However, unlike “Salome,” which featured strong supporting actors like Charles Laughton and Stewart Granger, “The Prodigal” paired Turner with the relatively unknown Purdom and Louis Calhern. This choice placed significant pressure on Purdom, who struggled to generate warmth and charisma necessary for the leading role.
Plot Deviations and Their Impact
The film opens with Micah, a Jewish son in Joppa, clashing with a pagan religious leader by freeing a slave, Asham (James Mitchell). This act sets the stage for Micah’s character as morally upright yet financially imprudent, foreshadowing his eventual downfall. Micah’s infatuation with Samarra leads him to demand his inheritance from his father, which he then squanders.
While the film includes some biblical references, it also introduces significant deviations from the original parable. Micah’s portrayal as a fundamentally good but naive person undermines the parable’s theme of profound repentance and forgiveness. His father’s unconditional love is presented without the dramatic tension of genuine estrangement and redemption, diluting the emotional impact.
Over-the-Top Entertainment and Ridiculous Elements
As the story progresses, the film shifts towards increasingly outlandish scenarios. Micah’s rebellion against the pagan leaders includes scenes like a sacrificial victim diving into a fire pit, awkward knife-throwing incidents, and a bizarre play featuring animal-headed costumes. One particularly memorable moment involves Micah wrestling with a vulture, a sequence that, while entertaining, feels more ridiculous than epic.
Director Richard Thorpe, known for his lack of imagination in previous projects, seems to overcompensate here, resulting in a film that is rich in spectacle but lacking in coherent narrative and character development.
A Disjointed Climax
The film’s climax involves Micah leading a rebellion against the pagan priests. He and his followers storm Samarra’s temple, ultimately causing her to leap into a sacrificial fire pit. This dramatic scene, while visually striking, lacks the depth and resolution one might expect from a biblical epic.
Micah’s return home is similarly underwhelming. His father’s forgiveness, meant to be a powerful moment of grace, feels unearned given the film’s portrayal of Micah as more misguided than truly prodigal. The film thus ends on an unsatisfying note, with neither the triumph of Micah’s victory nor the profound redemption of the original parable fully realized.
Missed Opportunities and Final Thoughts
Growing up, many learn the story of the prodigal son long before understanding the full meaning of being “prodigal.” The Prodigal (1955) misses an opportunity to explore the depths of this timeless tale. While it offers some entertaining moments and visually impressive scenes, it ultimately fails to capture the essence of the parable’s message.
Director Cecil B. DeMille, known for his grand biblical epics, might have handled the material with more nuance and spectacle. Instead, Thorpe’s version feels like a superficial adaptation that prioritizes spectacle over substance. The film’s greatest failure lies in its inability to truly embrace the transformative power of forgiveness and redemption at the heart of the parable. In stripping the story of its emotional core, “The Prodigal” becomes a visually grand yet thematically hollow film.
Ultimately, “The Prodigal” stands as a testament to the challenges of adapting biblical stories for the screen. While it aimed to capitalize on the popularity of the genre, it serves as a reminder that true success in storytelling requires more than lavish sets and star-studded casts. It demands a deep understanding of the themes and messages that resonate with audiences, something this adaptation unfortunately lacks.
