The Big Fisherman 1959

Simon Peter (Howard Keel) begins as a self-sufficient fisherman who gradually leans into a new life centered on a risen Christ, a transformation that marks the core arc of the story. Across this journey, another thread of redemption and forgiveness unfolds as he takes in a young Arab/Jewish girl named Fara (Susan Kohner). Their unlikely alliance becomes the conduit through which both characters are forced to reexamine loyalty, power, and what it means to follow a higher ideal.

Fara is revealed to be the daughter of Herod Antipas (Herbert Lom) who married and quickly discarded her Arab mother Arnon (Marian Seldes) in favor of Herodias (Martha Hyer). Disguised as a boy, Fara travels to Galilee with a burning desire for revenge against Antipas, setting in motion a tense collision between personal vengeance and spiritual awakening. On the road, she is robbed by bandits, and her path intersects with the voice of prophecy when she is found by John the Baptist (Jay Barney), who counsels her to listen to the great teacher, Jesus.

Under John the Baptist’s guidance, Fara falls under Peter’s protection, even as she clings to her vow to kill Antipas. Her presence within Antipas’ household gives her access to a string of prophecies she translates, a task that tethers her fate to the political and religious intrigues surrounding the ruler. As the two protagonists inhabit the same space where power, faith, and prophecy collide, they begin to hear Jesus teaching, a moment that slowly shifts their priorities and perceptions.

Fara wrestles with the teachings of nonviolence, and her internal struggle becomes a crucible for Peter as well. At first, he approaches this new soundscape with skepticism, but his resolve gradually bends toward discipleship as the lessons of Christ begin to resonate. The pair’s shared experiences—listening to the Sermon in the midst of political scheming and personal hurt—spark a transformation in both. When Fara gains a chance to strike against Antipas, she finally faces him and reveals her true identity. Watching intently, Antipas urges her not to descend into murder, and in a pivotal moment, she recalls the words of Christ and lowers her knife. Peter’s response is a quiet affirmation: she is free of her own chains.

Together, Peter and Fara depart for Arabia and undertake a rescue mission for Voldi (John Saxon), an Arab prince who wishes to marry her. The romance and political reality collide once more as Fara realizes that her mixed heritage would imperil Voldi’s future rule. In a selfless choice, she chooses to accompany Peter as they travel onward to spread the message of peace, leaving behind the personal longing that might have secured her place in Voldi’s realm.

Throughout this intertwined tale, themes of forgiveness, redemption, and the testing power of faith are explored against a backdrop of ancient political intrigue. The film centers on the idea that personal salvation and a broader peace can emerge from difficult choices, even when those choices involve relinquishing love for a higher calling. The emotional journey of Simon Peter and Fara remains at the heart of the narrative, illustrating how resilience, compassion, and a willingness to listen can alter the course of lives and communities.

• Emphasized motifs include the tension between revenge and mercy, the discovery of shared humanity across cultural divides, and the way loyalty to a larger truth can redefine one’s path. The performances of the principal players, along with the historical and biblical context, work together to create a resonant portrait of transformation, faith, and the enduring question of what it means to follow a message of peace.