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The King of Kings

The King of Kings

Drama · History · 1927

The King of Kings is the Greatest Story Ever Told as only Cecil B. DeMille could tell it. In 1927, working with one of the biggest budgets in Hollywood history, DeMille spun the life and Passion of Christ into a silent-era blockbuster. Featuring text drawn directly from the Bible, a cast of thousands, and the great showman’s singular cinematic bag of tricks, The King of Kings is at once spectacular and deeply reverent—part Gospel, part Technicolor epic.

Movie details

The King of Kings

“Supreme in Theme! Gigantic in Execution!”

1927 Drama · History 2h 35m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

The King of Kings is the Greatest Story Ever Told as only Cecil B. DeMille could tell it. In 1927, working with one of the biggest budgets in Hollywood history, DeMille spun the life and Passion of Christ into a silent-era blockbuster. Featuring text drawn directly from the Bible, a cast of thousands, and the great showman’s singular cinematic bag of tricks, The King of Kings is at once spectacular and deeply reverent—part Gospel, part Technicolor epic.

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 King of Kings?

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

Cecil B. DeMille

Written by

Jeanie Macpherson

H.B. Warner

H.B. Warner

Jesus, The Christ

D

Dorothy Cumming

Mary, the Mother

Ernest Torrence

Ernest Torrence

Peter

Joseph Schildkraut

Joseph Schildkraut

Judas Iscariot

James Neill

James Neill

James - Brother of John

J

Joseph Striker

John - the Beloved

Robert Edeson

Robert Edeson

Matthew - the Publican

Court is in session

Put The King of Kings 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.