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The Robe

The Robe

Drama · History · 1953

Drunk and disillusioned Roman, Marcellus Gallio, wins Jesus' robe in a dice game after the crucifixion. Marcellus has never been a man of faith like his slave, Demetrius, but when Demetrius escapes with the robe, Marcellus experiences disturbing visions and feels guilty for his actions. Convinced that destroying the robe will cure him, Marcellus sets out to find Demetrius — and discovers his Christian faith along the way.

Movie details

The Robe

“The first motion picture in CinemaScope--the modern miracle you see without glasses!”

1953 Drama · History 2h 15m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Drunk and disillusioned Roman, Marcellus Gallio, wins Jesus' robe in a dice game after the crucifixion. Marcellus has never been a man of faith like his slave, Demetrius, but when Demetrius escapes with the robe, Marcellus experiences disturbing visions and feels guilty for his actions. Convinced that destroying the robe will cure him, Marcellus sets out to find Demetrius — and discovers his Christian faith along the way.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Robe?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Henry Koster

Written by

Albert Maltz · Philip Dunne

Richard Burton

Richard Burton

Marcellus Gallio

Jean Simmons

Jean Simmons

Diana

Victor Mature

Victor Mature

Demetrius

Richard Boone

Richard Boone

Pontius Pilate

Leon Askin

Leon Askin

Abidor

Michael Rennie

Michael Rennie

Peter

Dean Jagger

Dean Jagger

Justus

Court is in session

Put The Robe on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.