A carpenter named Joseph and his wife Mary, who is about to give birth, arrive in Bethlehem for the census. Not having found accommodation for the night, they take refuge in a stable, where the child, Jesus, is born. The shepherds, who have followed the Magi from the East, gather to worship him. However, Herod, informed of the birth of a child-king, orders the centurion Lucius to take his men to Bethlehem and kill all the newborn male children.
Mary and Joseph flee to Egypt with the child. The Massacre of the Innocents occurs, Herod dies, killed in his death throes by his son Herod Antipas, who then takes power. In Nazareth, Jesus, who is now twelve years old, is working with Joseph when soldiers arrive under the command of Lucius, who knows now that Jesus escaped the massacre of the infants. But Lucius does nothing and only asks that Mary and Joseph register their son's birth before the year's end.
king of kings
Several actors were considered to play the role of Jesus. In May 1959, it was reported that Alec Guinness had met with Bronston to discuss playing the role of Jesus.[21] With Nicholas Ray as director, he considered Peter Cushing, Tom Fleming, Christopher Plummer, and Max von Sydow (who would later play the role in The Greatest Story Ever Told in 1965) for the role of Jesus.[22][23] Ultimately, on April 21, 1960, Jeffrey Hunter was cast as Jesus. The idea to hire Hunter for the role came from John Ford, who suggested him to Nicholas Ray after directing him on The Searchers (1956).[24] Ray also knew Hunter as he had directed him in The True Story of Jesse James (1957). Bronston agreed to the casting mainly because of the actor's striking eyes explaining that "I really chose him for his eyes. It was important that the man playing Christ have memorable eyes."[25] After he finished filming for Hell to Eternity (1960), Hunter was approached for the role after being given the script to which he agreed.[26]
In May 1960, Grace Kelly had turned down the offer to portray Mary, mother of Jesus,[30] in which the role later went to Siobhán McKenna while Hurd Hatfield was cast as Pontius Pilate.[31] That same month, it was announced that Viveca Lindfors, Rita Gam, Frank Thring, and Ron Randell had joined the cast.[32] Several of the supporting parts were cast with local English-speaking Spanish actors whom Bronston collected through a "workshop" program.
The film's shoot faced numerous complications. As with John Paul Jones (1959), Bronston secured the financing backing from business executive Pierre S. du Pont III, but months into the shoot, the production had run out of money. Metro-Goldwyn-Mayer became interested in investing as they saw the film as a potential rival to Ben-Hur (1959), which was still in wide release.[38] MGM studio president Joseph Vogel visited the set in Madrid and viewed dailies of the unfinished film. Coming away impressed, he alerted production head Sol C. Siegel of the production in which he also visited the set.[35] Siegel recommended various changes feeling the film was too long, needed more action, and had a weak ending. An original character named "David", portrayed by Richard Johnson, was written into the film to function as a bridge between the film's plot threads.[39] Due to the heavy deviations being made to the film's shooting script, Nicholas Ray and Philip Yordan were no longer on speaking terms communicating only through walkie-talkies.[40]
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From the eighth to second centuries BCE, ancient Israel and Judah were threatened and dominated by a series of foreign empires. This traumatic history prompted serious theological reflection and recalibration, specifically to address the relationship between God and foreign kings. This relationship provided a crucial locus for thinking theologically about empire, for if the rival sovereignty possessed and expressed by kings such as Sennacherib of Assyria, Nebuchadnezzar of Babylon, Cyrus of Persia, and Antiochus IV Epiphanes was to be rendered meaningful, it somehow had to be assimilated into a Yahwistic theological framework.
In King of Kings, Justin Pannkuk tells the stories of how the biblical texts modeled the relationship between God and foreign kings at critical junctures in the history of Judah and the development of this discourse across nearly six centuries. Pannkuk finds that the biblical authors consistently assimilated the power and activities of the foreign kings into exclusively Yahwistic interpretive frameworks by constructing hierarchies of agency and sovereignty that reaffirmed YHWH's position of ultimate supremacy over the kings. These acts of assimilation performed powerful symbolic work on the problems presented by empire by framing them as expressions of YHWH's own power and activity. This strategy had the capacity to render imperial domination theologically meaningful, but it also came with theological consequences: with each imperial encounter, the ideologies of rule and political aggression to which the biblical texts responded actually shaped the biblical discourse about YHWH. 2ff7e9595c
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