In this film adaptation of George Bernard Shaw's lavish epic, the venerable Julius Caesar (Claude Rains) meets Cleopatra (Vivian Leigh) under the Sphinx in ancient Egypt. Although the Roman Emperor finds her childishly innocent, she is capable of seizing the throne from her brother and cold-bloodedly committing murder. .. Read more
| Starring | Claude Rains, Vivien Leigh, James Mason, Jean Simmons |
|---|---|
| Director | Gabriel Pascal, Arthur Crabtree, Anthony Asquith, Leslie Arlis |
| Genres | Drama |
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In this film adaptation of George Bernard Shaw's lavish epic, the venerable Julius Caesar (Claude Rains) meets Cleopatra (Vivian Leigh) under the Sphinx in ancient Egypt. Although the Roman Emperor finds her childishly innocent, she is capable of seizing the throne from her brother and cold-bloodedly committing murder. Captivated by her youthful beauty, Caesar sets out to refine Cleopatra's rough edges into a more royal demeanor, befitting a queen. Even in the midst of his campaign to conquer Egypt, he finds the time to teach her about life and politics.
| Starring | Claude Rains, Vivien Leigh, James Mason, Jean Simmons, Phyllis Calvert, Cecil Parker, Alice Krige, Patricia Roc, Stewart Granger, Flora Robson, Basil Sydney, Francis Sullivan, Claude Raines |
|---|---|
| Director | Gabriel Pascal, Arthur Crabtree, Anthony Asquith, Leslie Arlis |
| Studio | ITV DVD |
| Run time | DVD: 2 hrs 2 mins Watch now: 2 hrs 9 mins |
| Certificate | DVD: |
| Genres | Drama |
| Language | English |
| Released | DVD: 13 May 2002 Watch now: 02 Jun 2009 Production year: 1945 |
| Watch now | Subscribe and watch this as part of an unlimited package. |
| Format | DVD |
Legend has it that garrulous Hungarian producer Gabriel Pascal managed to convince George Bernard Shaw he was the only person who could do justice to the great man's plays. Unfortunately, Pascal wasn't content to be merely producer here: he also directed, and with astounding ineptitude. The production went grossly over budget, which might account for both the film's excessive length and its failure to recoup its costs. There's no denying the Technicolor is splendid, but, despite the spirited efforts of Claude Rains and Vivien Leigh as the titular couple — he's suave, she's lovely — there's no sexual chemistry at all, and the script is far too wordy. Stewart Granger smoulders, despite the boot-polish make-up, but Flora Robson is quite ludicrous as Ftatateeta; the high style isn't needed here. It's still worth a look, though not to be taken too seriously.
Britain's most expensive film is an absurd extravaganza for which the producer actually took sand to Egypt to get the right colour. It has compensations however in the sets, the colour, the performances and the witty lines, though all its virtues are thea
'Caesar and Cleopatra' has aged markedly since it was made in 1946 - which is just as well. It is the patina of age that gives this curious film a certain fascination for a modern audience.
Bernard Shaw's dialogue is positively Victorian ('Harken ye to this!') and was out of date even when the film was released. The plot is slight and unconvincing, the Roman soldiers have broad Cockney and Scottish accents, the relationship between Caesar and Cleopatra lacks chemistry.
Yet it is still an enjoyably watchable melodramatic farce, and we don't see much of that in modern cinema; even the mob act in a deliciously camp over-the-top manner, they look like refugees from the silent screen.
The strongest aspects of the film are the central performances of Claude Rains and Vivien Leigh. She looks terrific and speaks wonderfully; he is a mixture of aloofness and compassion - a James Bond prototype, idly swatting aside the plots laid against him.
By no means a great film, just an unmissable one.
"Caesar and Cleopatra" is a typical Gabriel Pascal affair ( not that there are that many to cite ! ) - reverential, worthy, and extremely long. At least the Technicolor is fabulous, as is Claude Rains' performance, stealing the scenes as only he can. Hardly a minute goes by without some well-known Brit strolling across the screen, if only to spout dialogue that feels and sounds un-natural. There is so much talking in this movie that - apart from the lush photography - it might have been better served as a radio play. The less said about Vivien Leigh's performance, the better - she is blown off the screen by Rains' naturalism and comes across as prissy and irritating.
This is a film best taken in little chunks - swallowing the epic in one go is ponderously indigestible.