"Now listen to me, we have won our first victory in twelve months. We attacked the enemy for the first time, and out of some miracle, or the graciousness of God, or the idiocy of war, we have survived. What can you be thinking? Have we won the war? Gentlemen, this is only the beginning of the war. We have two thousand men. The enemy has twenty thousand. And I swear, I will not eat, nor will I sleep, until I have put that river between him and us."

"Firstly, my dear Sir, in order to attack, one needs an army. You do not have an army. Secondly, in order to attack, one needs Soldiers. Your men are not Soldiers. Thirdly, your troops always go in one direction. To attack, requires the other direction."

"Three centuries after the birth of Christ the Roman Emperor across Europe from Britain to the Middle East... So vast was the Empire that its rulership was divided—The East was ruled by Emperor Diocletian—the West by Maximums... Next in command to the emperors were those who held the title of Caesar... The Caesar of the West was Constantius Chlorus. His seat of Government was Treviri, located in what is now Southern Germany... From this Outpost he waged relentless warfare against the barbarian hordes which threatened the northern frontier of the Empire... Chief among his Generals was his son. CONSTANTINE--"

"With the victory of Constantine the persecutions of Christians were ended—religious freedom for the first time came to the Empire—the Divine Message of Love and Hope and Redemption went out joyously to all mankind."

"Carlo Ninchi — Constantius Chlorus"

"Vittorio Sanipoli — Apuleius"

"Christine Kaufmann — Livia"

"Fausto Tozzi — Hadrian"

"Massimo Serato — Maxentius"

"Tino Carraro — Maximian"

"When the Might of the Sword and the Sign of the Cross Unite in the Most Thrilling Story of Faith Ever Told on the Screen!"

"Cornel Wilde — Constantine"

"Belinda Lee — Fausta"

"How can the past, be it hidden or overt, have such power over us in the present, and what are the secret ways in which we deal with it? What happens when the truth is denied, and what happens when it is confronted? These are the mysteries at the heart of 1915. The story is set in 2015, on a day much like this one, exactly 100 years after the genocide. It is about a haunted man who stages a controversial play in a haunted theater – the historic Los Angeles Theatre in downtown, founded in part by Charlie Chaplin – to bring the ghosts of his past back to life, and to somehow change the course of history."

"Simon Abkarian — Simon"

"100 Years After The Armenian Genocide You Can't Escape The Past"

"Samuel Page — James"

"Angela Sarafyan — Angela"

"Tahar Rahim — Nazaret Manoogian"

"Rade Šerbedžija — Stephan"

"Simon Abkarian — Krikor"

"Christian Bale — Chris Myers"

"Daniel Giménez Cacho — Father Andreasian"

"Hindi Zahra — Rakel"

"Q: I was going to say that the type of film that this is, is incredibly hard to make nowadays. I’m very impressed you guys were able to pull this off."

"Kevork Malikyan — Hagob Nakashian"

"Q: When you think back on the making of The Promise, is there a day or two that you’ll always remember? Like memorable moments from filming?"

"Oscar Isaac — Mikael"

"Nikolai Kinski — Tony"

"Horrible human tragedies — unthinkable calamities involving millions of people — dwarf everything else. If you have a movie about the Holocaust, or Stalin’s starvation of the kulaks, or, as in the case of “The Promise,” the Armenian genocide, the historical event takes precedence. It’s hard to care about fictional characters while remembering the real-life horrors experienced by actual people. For this reason, most of the great films depicting the Holocaust have been based on true stories: “Europa Europa,” “Schindler's List,” “The Hiding Place,” “The Diary of Anne Frank,” “The Pianist.” There are exceptions (“Son of Saul”), but the slant toward truth-based stories has been real and necessary. To take the most unimaginable human suffering and combine it with the standard conventions of movie fiction somehow feels discordant, at best, and at worst grotesque.]] “The Promise” is hardly grotesque. It has good things in it, but by the end, it just feels like a failed manipulation. The reality that it’s trying to present and make us feel — the Ottoman government’s murder of 1.5 million Armenians in the 1910s — remains what it was before, a ghastly fact. The movie doesn’t activate that event through drama, even as our awareness of history keeps us at some distance from the struggles of the fictional characters."

"Basically, there was a calculation here that didn’t pan out. The idea was that history would add importance to the fictional story, and the fictional story would add drama to the history. Instead, the opposite happened: The historical context renders the fictional story trivial, while the fictional story keeps the audience removed from the history. We end up with an unimportant movie about important events."

"Parents need to know that The Promise is an earnest but disturbing wartime drama about the Armenian genocide in Turkey during World War I. Scenes depict graphic atrocities, hangings, beatings, street riots, burning buildings, mass graves full of women and children, execution-style killings, and other brutal, intense images. There's also some drinking (sometimes to excess) and kissing, as well as implied sex (no graphic nudity); language is very infrequent, but there is one use each of "s--t" and "hell." While it's not easy to watch, the movie does show how war can prompt some people to rise to the occasion, demonstrate courage, and work to save innocents."

"The movie hits its cinematic stride, as it happens, when events are at their worst. "The Promise" is drenched in production value and replete with ravishing shots of sunrises and sunsets, but it’s in the scenes of fleeing, of battle, and of horrendous loss that the film is at its most effective. The depiction of the savagery inflicted on Armenia is bracing. George is determined to make his story as much about the dead as about the fictional survivors. It’s in that respect that “The Promise” earns its unsettling honor."

"Well, there's a library of revisionist and denialist material out there about the Armenian Genocide — you know, that it should be thought of not as a genocide but as a civil war. The other side is that this was designed, that it was planned. And as someone who studied these events, it's important to understand the political motivations of both sides so that we can have a discussion, but it's absolutely not a question of did it happen—because it did—but why did it happen. That's the question you need to get to."

"Throughout its two-hour plus running time, there is nary an explanation of the political machinations behind the persecution of the Armenians. There's a bit of chit-chat and singing with some German soldiers, a mean Turkish father, and then suddenly everyone's being executed and shipped off to labor camps while villages burn. The lack of exposition could be intended to align us with Mikael's naive perspective. But you'll definitely leave "The Promise" with far more questions than you started. Perhaps we can never really answer why one group commits genocide against another, but it feels slightly irresponsible to make a film ostensibly shedding light on this atrocity and then not attempt to explain it in the least. Instead, "The Promise" is mostly concerned with the love triangle between Ana, Mikael and Chris, the reporter. And even the love triangle itself is a disappointment, as these men never seem too concerned that the other is romancing his girl. The usually charismatic Isaac is saddled with a dud of a character. Mikael spends most of the film buffeted by forces beyond his control and deferring to the desires of others, such as the army and his mother (Shohreh Aghdashloo). It's not until the third act that he starts to make his own decisions. The swaggering heroics are left to Bale as the Hemingway-esque American foreign correspondent."

"Q: What was it about The Promise that said “I have to do this”?"

"Q': Did the Turkish government give you any problems?"

"The events of “The Promise” transpire some 30 years prior to the storyline of “Casablanca,” but we can’t help but be reminded of the latter film when we witness this love triangle set against the backdrop of the horrors of a world war."

"With “The Promise,” George, co-writing with Robin Swicord, treats the Armenian genocide of the early part of the 20th century, an action undertaken by the soon-to-be-displaced Ottoman Empire, as a side exercise in its alliance with Germany as World War I was about to break out. Well over a million souls were killed in this action, which the contemporary Turkish government still declines to acknowledge. Indeed, the recent movie “The Ottoman Lieutenant,” set in the same period as this one, is produced in part by Turkish interests and has several scenes in which there’s a pronounced “whatever Armenians WERE killed kind of had it coming” vibe. And this film has been preemptively down-voted on IMDb by Armenian genocide deniers. One nice thing about George is that when he takes on a subject, he doesn’t flinch or back down about the truths he needs to convey. But it’s hard to deny that in some respects, “The Promise” takes a long way to getting around to the meat of the story."

"Charlotte Le Bon — Ana"

"Our revenge will be to survive."

"Shohreh Aghdashloo — Marta"

"[narrating] There was nothing that could be said. Both of us had lost the woman we loved. The French took us to a refugee camp in Egypt. Chris arranged for US visas for me, Yeva, and the orphans. We lost Chris in 1938. He died while reporting on the Spanish Civil War. I adopted yeva, finished my medical studies and set up a practice in Watertown, Massachusetts. After the Japanese attacked Pearl harbor, Yeva joined the women's army corps and fell in love with a young marine lieutenant. And on her wedding day, the orphans joined us in celebration."

"An Unforgettable Crime, An Unbelievable Journey, An Unending Love"

"The coincidences in “The Promise” are too frequent. (Chris and Ana and Michael, or some combination thereof, always seem to be able to find each other, even in the midst of utter chaos.) The melodrama is a little too heavy-handed at times. And for a movie that clocks in at 134 minutes, all of a sudden it feels as if we’re rushing through the conclusion and to a touching epilogue that might have been even more effective had it been given a little more real estate. Yes, “The Promise” veers into corny territory, and yes, it’s derivative of better war romances — but it’s a solid and sobering reminder of the atrocities of war, bolstered by strong performances from Isaac and Bale, two of the best actors of their generation."

"How wonderful it must be to go back to the comfort of your American home and write about it."

"Credit the producers, including the self-made Armenian-American billionaire Kirk Kerkorian, who died in 2015 at 98, for treating the film as a passion project. That passion is still evident here – how could it not be? – as audiences watch in horror at the systematic extermination of 1.5 million Armenians. Turkey, the successor state of the Ottoman Empire, still refuses to recognize these mass killings as genocide – as does the U.S. The Promise has no such qualms, however, allowing us to bear witness to atrocities that foreshadow the rise of Hitler and the existential horror of the Holocaust. What a shame, then, that the script by Robin Swicord (The Curious Case of Benjamin Button) feels the need to distract us with a bland, invented romance that doesn’t amount to hill of beans in this tormented world. Oscar Isaac (Inside Llewyn Davis, Star Wars: The Force Awakens) takes the Dr. Zhivago-like role of Michael Boghosian, an Armenian medical student who makes a promise to marry a young woman (Angela Sarafyan) to help finance his studies in Constantinople. One of the temptations of the big city is Ana (Charlotte Le Bon), a dance instructor heavily involved with Chris Myers (Christian Bale), an American reporter covering the hostilities for the Associated Press. Meanwhile, Armenians are evicted from their homes and death-marched through the desert as World War I looms."

"Empires fall. Love survives."

"My darling Yeva told me that her greatest wish was that her parents and our dear Ana were here. I told her I know that they *are*. For sure, they are here. And all of your parents and all those families lost in an attempt to wipe our nation from the face of the earth. But we're still here. We're still here."

"Q: One of the most chilling lines in the movie is when Oscar’s character says, “It must be so nice to go home and write about this.” Americans are fairly removed from many of the tragedies in our world today, how can we change that?"