In den Klauen des Borgia

This is the only film whose producer ever rented a country. The tiny country rented to become "Citta del Monte" in Samuel Shellabarger's well-plotted "Prince of Foxes" was actually the real country of Andorra. The historical novel on which this beautifully-paced and emotionally satisfying film was made left Milton Krims, scenarist, with an unsolvable problem--which he proceeded to solve. The plot line involved Tyrone Power as ambitious young Andrea Orsini with Cesare Borgia's scheme to unite and rule Italy; Orson Welles does well as a charismatic Borgia, whose plan it is to marry his sister played by Marina Berti to the Duke of Ferrara; poison will follow, and the key to Italy will drop from the dying Duke's hand into his own grasp. But Andrea must first perform a mission involving the betraying of the strategic Citta Del Monte into Borgia's hands. His Mother, played by Katina Paxinou, is horrified when she hears what he is becoming; and during the mission, undertaken with Everett Sloane as an assassin he takes into service-- his own death having been the one planned--he decides to serve the Lord of the city, ably played by Felix Aylmer and also his daughter, with whom he if falling in love, miscast but hard-working Wanda Hendrix. The final battle is fought, and a happy ending is achieved--for all save Cesare Borgia and those whose death his schemes have wasted. This is a beautiful B/W drama, with lovely sets by Thomas Little,, Alfred Newman's fine music, Leon Shamroy's exquisite photography and period costumes by Vittorio Nino Novarese that I found unforgettable. Kudos also go to Roy D. Webb as 2nd Unit Director for the action scenes that relieve the very competent dialogue portions expertly crafted by director Henry King. This film, which could have been badly made, glows like a ruby set in the hilt of a dagger flashing back the rays of a spring sun. It is well-remembered, and a benchmark of a production against which other historical dramas are measured still.

Just this weekend I stumbled across this lovely film on American Movie Classics (AMC)while fiddling around with the old remote. I was absolutely astounded by the realism of the sets: one felt transported to Renaissance Italy. Castles, palaces, towers were all faithfully replicated. The costumes were gorgeous. The armor and weaponry appeared accurate and deadly. Even the catapults were genuine; they did not appear to be models.

The acting was superb! You take for granted that the performances of Welles and Sloane would be excellent. But the very pleasant surprise came with Tyrone Power's portrayal of Orsini. I never considered Power more than just a pretty face (and an excellent swordsman). However, this film changed my opinion of his acting talents completely. In fact, all the supporting cast turned in satisfying performances.

This is a true gem of a film, I would love to see it on the big screen.

First, allow me to say how wonderful it feels to know I am not living alone on a planet in another galaxy -- that this planet actually has people on it who share a common interest with me: The spin-off from Samuel Shellabarger's historical novels (please feel free to read my comments under "Captain from Castile").

Samuel Shellabarger wrote "Prince of Foxes" after he wrote "Captain from Castile," and was therefore a more seasoned and experienced writer whose plot and character development had improved -- hence the previous remarks about Tyrone Power's acting ability: He had more with which to work in his character of Orsini than he did in the role of Pedro de Vargas thanks to Shellabarger's improved skills as an author. Tyrone Power was always a better actor than anyone (especially 20th Century Fox) ever gave him credit for being.

Each time I view my video of "Prince of Foxes" (copied from American Movie Classics) I am, of course, enthralled and mesmerized by Orson Wells' role of Cesare Borgia. I am equally impressed with Everett Sloane as Belli. But whenever I see Sloane as Belli, I can only think of an opportunity missed and Sloane getting shafted out of a nomination for best supporting actor thanks to the screen writer, director, producer and studio high-pockets. Why? Because the character of Belli, in the book, is the most dynamic character I have ever read! His dynamism was only partially revealed in the movie. There are also characters in the book, pertinent to Belli's development and evolution, that never appeared in the movie. In both mediums, we are introduced to Belli as a hired assassin. By the end of the movie, Belli has change his allegiance three times, but in the book, we leave Belli as he has declared for the priesthood -- and this time, I think he was serious!

Everett Sloane is one of my favorite actors of all time. He was the perfect choice for the role of Belli, as much as Wells was the perfect choice for the role of Borgia. But Hollywood did it again: They missed seeing what was right in front of their eyes in Shellabarger's character of Belli.

I agree with almost everything that has been stated by previous respondents about this production. It is wonderful! I can't wait to view my video of it again! I don't think I will ever tire of it. It is truly magnificent! But I think this film should be reshot and Shellabarger's book followed religiously by the script. It would be a much better movie than even this beauty.

Despite a comment that Darryl F. Zanuck refused Tyrone Power's pleas to make "Prince of Foxes" in color because he was angry with his star, this is not true. The film was probably made with Italian funds that the studio couldn't get out of the country, and there just wasn't enough money to do this richly-produced film in color. Zanuck was too much of a businessman to let anger ruin a good opportunity. And why would he have been angry? Power was doing another swashbuckler like the big man ordered, wasn't he?

Despite not being in color, "Prince of Foxes" is a glorious-looking film, made on location in Italy. It's based on the Shellabarger novel about Andrea Orsini, a peasant with a fake royal name, who is sent by Cesare Borgia to infiltrate the court of Count Verrano, seduce his wife, and get rid of him so that Borgia's troops can take over his province. Orsini, however, double-crosses his boss.

The acting is marvelous - Tyrone Power is wonderful as the turncoat Orsini, and manages to hold his own against the flashier roles of Cesare Borgia (Orson Welles) and Belli (Everett Sloane). Though I doubt that Welles was terribly into his part, as usual he's excellent. When doing a role strictly for money, he had the habit of arching his eyebrow and intoning that glorious voice to make the audience believe he was doing something. It's only when one sees him as Citizen Kane or in a film like "Tomorrow is Forever" that one realizes these later supporting roles are phoned in. But who better to make the call than master technician Welles. Sloane does a fantastic job as a man who just can't stay loyal to one side and pulls one of the film's big surprises. The part is cut down from the book, which is a pity.

The music, the scenery - amazing. The great halls are like nothing you've ever seen. For once, Tyrone Power has competition for beauty! By the time of Prince of Foxes, he was totally sick of these roles, but he had a few years left before Zanuck turned him loose. It's said that he was too old to be a swashbuckler by 1949 - he was 35, which today is nothing, though he often had to play parts that were intended for someone 10 or even 15 years younger. As a result, he sometimes looked tired out. But not here. Perhaps this film was more tolerable for him because of his impending marriage to Linda Christian, his second wife. In any event, he comes off very well.

One thing I never understood is why Zanuck insisted on casting the post-war Power opposite these vapid starlets - Wanda Hendrix in this, Cecile Aubry in "The Black Rose," Jean Peters in "Captain from Castile" etc. - of these, the only "find" was the wonderful Peters. Hendrix is okay in "Prince of Foxes" but that's about it. The role called for a little more depth than she was able to give.

All in all, beautiful to watch, an intriguing story, excellent acting. Recommended, and, by the way, soon to be released in DVD as part of the Tyrone Power Collection.

You have to understand that Samuel Shellabarger who wrote Prince of Foxes and Captain from Castile, along with several other sabre-rattling novels of the renaissance, was a very popular writer in the 40s and this movie captures much of the romantic mood of his novels. Tyrone Power had appeared earlier in Captain from Castile which had been a hit and this effort including the great Orson Welles as Cesare Borgia, and two great character actors, Katrina Paxinou and Everett Sloane, was a fantastic production. Wanda Hendrix, who was never any great shakes beyond presenting a pretty Hollywood face, did not distract from the film but the scene chewing between Power, Sloane and, of course, Welles (before he became so obese), is classic. Power with his dark handsome Irish face was always delightful in these heroic roles tinged with darkness. Recall that this film was of the same time period as his classic Nightmare Alley. It is an entertaining yarn but, alas, no video or DVD at this writing, so you'll just have to look for it on the late show. Do so because if you like the romantic golden oldies with a bit of swash and buckle, you'll dang sure like this one.