How a chaotic production and a hurricane created a 1961 religious cinema epic

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Nicholas Ray’s 1961 King of Kings was a massive undertaking, plagued by hurricanes, creative feuds, and studio interference. Despite the behind-the-scenes turmoil—including a director and screenwriter communicating only via walkie-talkies—the film became a box office success, leaving a lasting mark on the landscape of biblical epics.

The journey of King of Kings began in the 1950s as a project titled Son of Man, initially developed by John Farrow. By 1959, Farrow had departed due to creative disagreements with producer Samuel Bronston, who allegedly wanted to shift blame for the crucifixion away from Jewish leaders and onto the Romans. Nicholas Ray was hired to direct, and screenwriter Philip Yordan was brought in to craft a new script, which he completed in just six weeks. Yordan famously viewed the character of Jesus through the lens of the solitary Western hero, a perspective that defined the film’s narrative tone.

Production was an immense logistical challenge based in Spain, where Bronston constructed 396 sets. The scale was so vast that a hurricane destroyed the Second Temple set, forcing a three-month reconstruction. Filming the Sermon on the Mount required 81 camera set-ups and thousands of extras, some of whom were so moved by Jeffrey Hunter’s portrayal of Jesus that they crossed themselves, despite the historical inaccuracy of the gesture. The production was further complicated by the illness of cinematographer Franz Planer and the tragic death of horse trainer Arthur Resse.

As the project neared completion, MGM intervened, demanding significant changes to increase the action and improve the ending. The relationship between Ray and Yordan deteriorated to the point where they ceased speaking, relying on walkie-talkies to communicate. After Ray was effectively sidelined, MGM hired Ray Bradbury to write a new ending and narration. The final, iconic shot of Jesus’s shadow forming a cross was actually repurposed test footage. Despite mixed critical reception upon its October 1961 release, the film’s grand scale and Miklós Rózsa’s nominated score solidified its place in Hollywood history.

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