46 years ago, a singular producer named Samuel Bronston began creating a string of epic films with which he stated he hoped to promote certain qualities, and by intent, he invested in themes that brought out patriotism and the best qualities in its heroes. 55 Days At Peking showed nations pulling together against tremendous adversity; King of Kings tells the story of the Christ set against a background of revolt and Rome, Fall of the Roman Empire followed, all produced on a massive scale unseen since. All these movies made money but cost a fortune to make.

In fact, their funding was tied in with benefactor who literally hemorrhaged money to make them and it would be fair to say, never again will the screen be filled for miles with real, expensive actors, horses and siege weapons rather than cheap CG stuff. This my friends, was the real thing. Saying "cast o thousands" belittles what was achieved here; it was a cast of many thousands photographed in sets costing many millions. These movies are truly a sight to behold.

BACKLASH

Unfortunately, when one lost money, a domino effect occurred, a backlash that toppled even the benefactor who then swore revenge, using every resource at his considerable disposal to wreck all Bronston's further efforts. Because he was not a major studio, Sam's producing career was over. His final and most spectacular release was Fall of the Roman Empire.

Most of the films disappeared with Sam as the angry apparently tied-up any further showings, or releases of existing Bronston product, and indeed went so far as to prevent any further or future productions by Mr. Bronston. An exception was one of his biggest hits, King of Kings, distributed by MGM whose clout fortunately staved off attack and which happily survived most of the repression.

El Cid, then, had been unseen for thirty-some years but was championed by no less than Martin Scorsese, who in the early 1990's after Sam's death, brought it out on video. But the print used was miserable, and topping even that misery, it was dubbed in long-play: a serious no-no in the VHS format and was excruciating to watch. So good a film is it, however, that many of us did exactly that, to savor even a sense of the grandness of scale and pageantry that is El Cid. Now, Miramax has acquired the films of Sam Bronston for release on DVD, and they are exquisite, remarkable releases indeed. Now, 18 years after that failed release, El Cid has been treated as it deserves, lavishly restored and packaged.

El Cid, made in 1962, told the story of a Spanish knight whose loyalty to the Crown was tested by his belief that violence only begets violence, though when its time to dole it out by broadsword and lance, he was the best. Set in the dark ages when Moors were spreading a doctrine of hate, (we struck by the timeless comparisons to modern day terrorism) Rodrigo frees several captives while on his way to be married and thus earns the name, El Cid. One of these returns to aid him in his time of greatest need; the others return to bring war and inflamed battles to Spanish soil.

Charlton Heston is the natural choice for the starring title role. Never giving up his loyalty for his king even when betrayed, Heston is able to bring a dignity and bigger-than-life presence to the legendary figure of a country that would become Spain deserves. He is at the height of his powers playing opposite beautiful-beyond-reality Sophia Loren. Neither has been captured with more glamour or vigor. Unless you knew of the reported behind-the-scenes disharmony between these two, you would never know it from their rich performances.

El Cid  comes in two different DVD releases: "regular" (containing all the movie and behind the scenes material) and one that adds a fancy package, a reproduction of the original movie booklet, a reproduction of the original Dell comic book, and reproduction movie stills all packed into space-hogging lift-off carton. There are also engaging behind-the scenes documentaries on Sam Bronston (one is feature length and a fascinating document we know of on the life of this incredible lone-wolf producer); the making of El Cid, and previews.

These arr a rich addition to the film itself and unlike the horrid extras on most movie releases actually are a gold-mine of vintage film and information. The movie and extras are the same on both releases, with the color and sound transfers for El Cid fresh and spectacular. The Super Technirama 70 cinematography captured awe-inspiring spectacle and wondrous color.

BATTLES

The battles in El Cid include several castle sieges which involve hundreds of knights bringing up siege towers, catapults and trebuchets. Production values for the interior and exterior scenes are generally fine (modern day viewers will probably forgive the somewhat tepid armada floating offshore behind the attacking Moors).

Charlton Heston, in his autobiography, said he wished director Anthony Mann had relegated the handling of the battle scenes to a second unit director more experienced in putting action on the screen. There is a certain lack of ferocity in some parts of the combat, and I would be loath to contravene what Heston has himself reported. He must have had a vision for this film and the battles may not have measured up. Still, they are big, epic scenes filled with costumed actors from here to a mile distant. There is a bone-jarring joust for the city of Calahora and it is a crashing piece of cinema history and mano y mano stuff unseen for 46 years.  A personal favorite scene is, on the movie soundtrack, called 13 Knights. In it, a young king is being removed to prison and the Cid tracks them on horseback into a lonesome area. As the knights round a corner, the Cid is there, blocking the road refusing to allow them to pass until the king is freed. The ensuing sword and mace battle was thrilling enough to me as a kid and satisfying now.  For us, the action in El Cid was just fine.

A DRENCHING SENSE OF THE TIMES

The music for El Cid is by Miklos Rosza master of music for screen spectacles. Composer for Ben-Hur, King of Kings, Ivanhoe, and many more of note, Rosza's music was as much the mark of a true epic of the times as Heston was the ideal star of them. Rosza was somehow able to musically convey a drenching sense of the times. Here the fanfare of an entire orchestra harkens you back to a time of nobility and romance, castles and intrigue. He is especially fond of stacked strings in his marches and the El Cid march is one of his finest. The movie and its soundtrack come together in one spectacular finish, as the Cid rides out of Valencia for the final time, coming so close to the camera that it must tilt upward as the sun sprays in such a way as to almost make the viewer squint; and in that moment, the Cid passes into cinematic legend.