Judas’ Kiss

The film centers on Judas Iscariot as he betrays Jesus to the Romans in exchange for a few coins. The infamous kiss marks the moment of the betrayal, setting the stage for the crucifixion. The synopsis presents this act as the emotional core through Judas's perspective.

Magazines at the time described the kiss as spectacular and unprecedented in Spanish cinema. They noted that such a moment had rarely been seen before in Spanish film. The coverage framed the production as a bold entry into religious epic storytelling.

The production boasted 82 sets and exterior shoots in the Holy Land, giving the film an expansive epic feel. Rafael Gil moved there with the film crew in the summer of 1953 to capture authentic locations. Later, some of the images were reused as long shots or transparencies in the final edit.

A distinctive plot idea guides the narrative by presenting the drama of Jesus from Judas's perspective. This framing differentiates the film from traditional depictions and emphasizes Judas's motives and humanity. It lays the foundation for a more intimate, character-driven epic.

The concept resurfaced in the summer of 1952 when Escrivá presented the project to United Artists. The studio received it with enthusiasm, promising broad distribution in many American markets. This early support helped secure the project’s ambitious production plans.

United Artists guaranteed distribution in numerous American countries, signaling strong confidence in the project. The promise reduced financial risk and enabled ambitious scope for the production. The collaboration positioned the film for a transatlantic audience from the outset.

To achieve a grand cinema epic, the production planned spectacular scenes modeled after Cecil B. DeMille's American epics. The approach blended Spanish storytelling with Hollywood-scale spectacle. The plan called for large-scale sets, dramatic staging, and high production values.

The film was shot in black and white with a solemn, dramatic tone reminiscent of Julien Duvivier's Golgotha from 1935. The monochrome palette underscored the gravity of biblical material. This stylistic choice connected the work to a tradition of serious religious cinema.

Enrique Alarcón led the art direction while Alfredo Fraile handled cinematography, both regular collaborators with Gil. Their teamwork contributed to the film's visual grandeur and historical detail. The combined design and lighting work supported the epic biblical atmosphere.

Cristóbal Halffter composed the score to accompany the images, aiming for a solemn and restrained musical atmosphere. The music amplified both the epic scope and the reverent tone of the narrative. The score is presented as a key element in the film's emotional impact.

José Antonio Rojo edited the film, shaping the rhythm and coherence of a large-scale biblical epic. The montage helped balance spectacle with the film's Judas-centered perspective. Rojo's work is described as a living part of Spanish cinema history.

Journalist Barreira praised the endeavor as a gigantic production and a standout display for Spanish cinema. He highlighted the scale and ambition of the film within the context of the crucifixion theme. The report framed the project as a landmark in contemporary Spanish filmmaking.