The Sign of the Cross
Time Out saysA prologue tacked on in 1944 ludicrously attempts to link the Allies' advance over Italy to the dreadful happenings in Nero's time. But history was always a plaything to DeMille, useful only as a surefire way of offering up sex, violence and visual spectacle under the guise of cultural and moral enlightenment. And this slice of 'history' has it all: Laughton's implicitly gay Nero fiddling away while an impressive miniature set burns, Colbert bathing up to her nipples in asses' milk, Christians and other unfortunates thrown to a fearsome menagerie, much suggestive slinking about in Mitchell Leisen's costumes, much general debauchery teetering between the sadistic and the erotic. Not for people with scruples.