Cleopatra

I was watching with interest the 1912 production and found it fascinating by the different acting styles strong and weak in the primarily static shots until I realized that each scene may have meant to be tableaux that come to life. Charles Sindelar was a strong looking Anthony and thought the actress playing Octavia was more accessible to modern audiences.

The so-called score made probably by some spoiled New York Artists especially that hideous groaning woman was really dreadful,but as with most scores to silents just a flick of the mute button can help as great silents stand on their silence alone!

Producer-star Helen Gardner has doubtless seen the Italian "Quo Vadis", and this "Cleopatra" runs an amazing 90 minutes for a 1912 feature (with 106 title cards!) "Cleopatra" is a case of trial and discovery in this exploratory era of American features. The first hour is filmed in the static "Film d'Art" style, save for one brief insert added probably very late in the production, and the modern viewer begins to wish that the camera were moved even just a bit closer to the stagebound action, despite the elaborate, if somewhat primitive, stage dressing. In the last third of "Cleopatra" more shots and setups are used, by far, than in the first two thirds. We also find the camera is moving closer to the actors and less of a concern is shown towards exposing the sets, costumes, and extras, resulting in an entirely more satisfying and intimate cinematic experience, though some of this section of the film is choppy in the GEH print aired on TCM. My feeling is that "Cleopatra" is a textbook example of how feature-length filmmaking helped open up possibilities towards a more sophisticated style of onscreen direction, cutting and camera setups. Gardner & co. are literally discovering as they go, and it seems much of "Cleopatra" was filmed in story sequence. By shooting using gradually smaller parts of the set, and closer to the actors, Gardner created a film that had considerably more dramatic power in the end result than was generally required by 1912 standards, and on this alone the film remains a genuine step-forward for the fledgling American feature industry.

Prominent stage actress of the day Helen Gardner never became part of the Hollywood scene. This production of Cleopatra was done at her eastern based studio and the supporting cast is made up of players from the Broadway stage. As such the film is a curiosity for those who want a glimpse of people on the stage in those years before World War I.

Ms. Gardner makes one buxom Cleopatra, one like you will not likely see again. But that Lillian Russell type figure was considered the standard of beauty back then. Wonder what Lillian Russell might have thought had she seen this film?

For 1912 it's a bit risqué. In addition to the standard story of Mark Antony and Cleopatra there's also a story line here about a humble fisherman who has the hots for his Queen and Cleo takes him on as a boy toy.

I really was not impressed with the added music soundtrack and singing of modern type music, jarringly out of place for the time. This really cries for a theater organ.

It's a museum this Cleopatra, nothing more.

Quite a remarkable production, a key film on the continuum of American film that set the bar higher. Considering King Tut's tomb wouldn't be found for another ten years, the sets and costumes were well done, funny chubby Egyptian figures painted on the walls. Thank goodness D.W. Griffith was compelled to innovate a few years later but restoration funds were well spent on this historical film.

Cleopatra is a very stagey film. Nothing happens here that could not happen in a theatre. Genuine exteriors are almost non-existent, and even simple exteriors, requiring only a field and a tree or two, are duplicated with backdrops. This of course was in an era when the theatre still commanded a good deal more respect than did the cinema. Remember that one of the earliest film companies, a precursor to Paramount, was originally formed by Zukor as Famous Players in Famous Plays. Also note that the extras seem to have nothing really to do. They are all standing around seeming to look for direction. Most of the film is very long shots, once again, going back to theatre roots.

The score is terrible and does not fit the film at all. I don't care for avant-garde stuff and the music definitely falls into that category. If someone were going to use that type of music I would think it would be better suited to something like a German expressionist style film, not a period piece "historical" type film.

That noise Ms. Gardner (Cleopatra) was making at the beginning was just odd and distracting. Then the actual "singing" (if you can call it that because the words were pretty much unintelligible) was again distracting. I was trying to figure out what she was saying and ended up missing part of the movie. However,the sounds and the score is somebody in modern times trying to augment the film, so I can hardly blame Ms.Gardner for it one hundred years after the fact.

I'm glad this film was restored, as it's an interesting piece of film history. Before the money men got involved there was a place for women behind the camera in writing and directing as well as owning their own studios as Helen Gardner did. It's also very interesting that she made many feature length films (80-90 minutes) as opposed to the one and two reelers of the time. Cleopatra is listed as being the first feature length film (6 reels) made in the U.S., although De Mille always incorrectly tried to claim that "The Squaw Man" - which he directed -was the first feature length film.

Worthwhile for the novelty of it all.

I'm amazed to see a 1912 feature that's almost 90 minutes long. By contrast, "From the Manger to the Cross" is under 70 min. The tinting and restoration are good, the modern music by Chantal Kreviazuk is interesting if unnecessary (there's no reason to be turned off by it--you can always play your own music!). The film is not in "pure" tableau style but in modified tableaus. That is, there is some cross-cutting from different locations, and dialogue cards do interrupt the shots. The first scene is even somewhat distracting in its cutaways to a man who is a short distance away. During the battle of Actium, the camera suddenly goes in for a series of near close-ups of Cleopatra and Antony from the waist up, and the entire scene is told in these alternating shots with captions. (A way to avoid staging a battle.) The scene in which she barges down the Nile and seduces Antony is a typical example of "film d'art" tableau style, with only dialogue interrupting the shot occasionally. The major lengthy sequence at the end, however, begins in two locations: in Cleo's chamber on an upper floor and outside on the ground below, and Antony is raised up through the window on a rope, then for the rest of the complex scene the camera pans right and left as called for by the action. Fascinating and typically noble.