The great playwright George Bernard Shaw takes a step up to the pulpit to preach the desires of the early Christians to either worship their savior (and just one God) or be willing to be put to death in this light comedy which will touch the soul (of those it doesn't offend) as did another movie from this era with the same co-stars in search of "The Robe".Fleeing from the Romans to the hills, milquetoast Alan Young and his harpy wife Elsa Lanchaster stop to rest when they are confronted by a male lion. The simpleton Androcles senses that the lion is in too much pain to eat them and finds a thorn in the lion's paw. He struggles to remove it (with comical overtones) and the lion is emotionally touched by this good deed. But Androcles is captured (whatever happens to his wife is never explained) and on the journey back to Rome to be fed to their own lions, he meets former sinners Jean Simmons and Robert Newton, as well as soldiers Alan Mowbray, Jim Backus and Victor Mature. He joins his fellow Christians in singing modern Christian hymns, ironically not written until centuries after this story took place.The inclusion of "Onward Christian Soldiers" adds a satirical edge to this screen adaption of Shaw's play, as does the presence of Backus as one of the soldiers who looks extremely un-Roman. A huge cast of familiar faces pop up in a variety of smaller roles, with Maurice Evans as a very regal Cesar and Gene Reynolds as a pompous Roman longing to see at least one Christian being devoured.Obviously painted backdrops give a theatrical feeling to the Rome setting and several encounters with lions are phony, filmed in a truly comical manner. A few gladiator battles show the violence and gore that the Christians must have had to deal with, and Newton's battle with several of them is extremely gripping as his character is torn over his past obsession with his bad temper which often lead to violence and his new devotion to Jesus.The love match between the beautiful Simmons and the masculine Mature is a reminder of their participation in "The Robe" the following year, as well as several other films made during this time. Some viewers may be taken aback by the preachiness of the script, but it is made palatable by the passionate way it is delivered with a sense of the writer's own devotion echoing its way into both your ears and your heart, indicating that his own spirituality was mixed with his sometimes sardonic humor over the human condition.

I assume back in his day, the Brits thought that George Bernard Shaw was incredibly brilliant and droll for concocting the play "Androcles and the Lion". However, despite Shaw being held in great esteem today as then, I couldn't believe how awful this film was. Perhaps the translation to the big screen was at fault--perhaps Shaw himself just didn't age well with this story. All I know is that I hated everything about this horrible story of the early Christians. Heck, it was so bad, I assume the film did much to encourage the cause of atheism the world over. Yes, it was THAT bad.When the film begins, you know you are in trouble for two reasons. First, the background paintings are incredibly fake looking and the studio seemed to do nothing to make them look better. Second, and a far more serious problem, is the god-awful dialog. Again and again, the dialog between Alan Young and his wife, Elsa Lanchester, made me cringe--and it was clearly SUPPOSED to be funny. Unfortunately, this same problem continued throughout the film--with horribly corny humor and incredibly anachronistic and stupid dialog uttered by everyone. It was painful it was so bad.The bottom line is that although I hate stilted Biblical costume dramas (such as "David and Bathsheba"), I learned tonight that I hate comedic Biblical costume dramas even more. The film has wasted the talents of everyone associated with it and the likes of John Hoyt, Victor Mature and Jean Simmons clearly were given third-rate material. As for Young, he was right in his element. Avoid unless you are a masochist.

I last saw this film as a child some 50 odd years ago. I remember after all these years, watching Alan Young, Mr. Ed's owner, waltzing with a lion in the Coliseum in Rome. I also remember knowing that the Romans did not treat the Christians very well in this setting. Shame on you George Bernard Shaw. Mr. Young, who apparently just turned 96 years old, a character actor of some merit, plays an insipid man who, in a most dingle-jolly way, is taken with a group of Christian prisoners to provide entertainment. He is docile and so trusting with those big eyes. Even a man who lives in a kind of la la situation would recognize that pain and death were just around the corner. He tries to inspire the others who are all giddy with their heads in the clouds. They somehow have learned Hymns that were written at least 700 years later. I guess this is supposed to be a comedy. The Roman soldiers are a bunch of silly Teddy bears, sort of like Sergeant Schultz on Hogan's Heroes. A laugh fest in a German prison camp. It also has Victor Mature, one of the most one dimensional actors of all time. Why the pretty young Christian girl played by Jean Simmons would want anything to do with someone so boring, I don't know. There is a fine line between comedy and tragedy. Making the Romans straight men who would never have fawned over those who were anathema to them was insulting. Watching the emperor chased by the lion was the final touch in a marvelously forgettable film.

A famously bad movie of a minor Shaw play, Androcles and the Lion isn't bad so long as one doesn't approach it expecting a sparkling and witty adaptation along the lines of Major Barbara. To be fair to producer Garbriel Pascal, who loved Shaw's work dearly, and director Chester Erskine, an experienced theatre man, the play wasn't that good to start with. In trying to make their picture look like a spectacle, and casting hunky Victor Mature in a major role, Pascal and Erskine at least give the viewer something pleasing and familiar to look at. The presence of Jean Simmons doesn't hurt, either, though her padrone, studio chief Howard Hughes, was in the process of inadvertantly wrecking her American career with inferior movies. In the roles as early Christians, Alan Young and Robert Newton make a terrific pair, and ought to have been co-starred again. Mr. Young's endearingly innocent, child-like and effeminate Androcles makes a fascinating contrast with Newton's bellowing, hyper-virile Ferrovius, and one wonders, if one adds to the mix the mere presence of Victor Mature, was going on subliminally in the minds of Pascal and Erskine when they cast this film. (Young fared far better with the animal kingdom some years later on television, as friend and companion of the irascible and unpredictable equine, Mr. Ed.)