César et Cléopâtre

British Technicolor adaptation of George Bernard Shaw's historical play, from Eagle-Lion and director Gabriel Pascal. Roman conqueror Julius Caesar (Claude Rains) arrives in Alexandria, Egypt to supervise the occupation of the newly-acquired territory. He meets young queen Cleopatra (Vivien Leigh), a submissive girl without the skill or training to wield power. Caesar decides to personally tutor her in the ways of ruling others, while also fending off various uprisings.

This was the most expensive British film ever made at the time, and it looks it, with large, impressive sets, dozens of extras, colorful costumes, and elaborate set-pieces. The film was scripted by Shaw, and it retains the "Shakespeare-lite" quality to the dialogue. It may take modern ears a bit to get used to, but it's more accessible than the Bard's densest prose. I thought Rains was very good as older, wiser and often bemused Caesar. Stewart Granger is youthful and heroic, and Flora Robson is a scene-stealer as a powerhouse of a nurse to Cleopatra. The weakest link is Vivien Leigh, who I never bought into here. I read after watching that she suffered a miscarriage and a mental breakdown while filming, so that explains a lot of the uneven nature of her screen work. Director Pascal does a poor job of opening up the play, despite his big budget. There are a scattered few cinematic shots, but most of it feels liked a filmed stage performance. The movie earned an Oscar nomination for Best Color Art Direction.

Enjoyed seeing this great film classic from the Year 1945 with a fantastic cast of great veteran actors and stars who were just starting their careers. Claude Rains played the role as Julius Caesar who in this film was a wise old fox who is very forgiving for many reasons and stumbles upon Cleopatra, (Viven Leigh) in the desert and she does not know that he is Julius Caesar. Caesar charms Cleopatra and they become good friends, and Caesar teaches her how to rule her country of Egypt and tries to solve her problems with her servants and mostly her brother who wants to be king and ruler. There is plenty of comedy in this film which surprised me, because I had no idea it is really a film loaded with funny scenes and excellent acting by the entire cast. Stewart Granger gave a great supporting role along with Michael Rennie. If you look close you will see Jean Simmons playing as a harpist who later on in real life married Stewart Granger. Lots of fun to view this film from the past. Enjoy

Shaw was a wonderful historian with a deadly eye for irony. Claude Rains brings off Caesar with withering poise and breezy wit, standing tall above the flashing eye of an Egyptian hurricane named Cleopatra (Vivien Leigh). Caesar's aide-de-camp is an affable bear of a man named Rufio (Basil Sydney), who mainly just keeps his eye on Caesar. Cleopatra is likewise sheltered by her scheming counselor Ftatateeta (Flora Robson), a name that not even Caesar can pronounce. Character actor Cecil Parker as Britannus adds quaintness and serendipity to an already splendid alchemy of spotty characters. The film moves by turns through a narrow skein of classical history as the reliquarian Egyptian world gives way to a streamlined Roman one. Along the way, we witness the contending parties encompassed and entangled in a delightful pantheon of wit, irony, satire, morals, manners, and adventure. Overall, a tremendously facile projection of one of England's sharpest satirical voices, G.B. Shaw.

Cleopatra and Julius Caesar carry on an arch flirtation, while spouting epigrams courtesy of George Bernard Shaw, in this literate, exuberant and thoroughly enjoyable movie. "Caesar and Cleopatra" stands out against the typical British production, which tends to be drab and morose. (Other notable exceptions are the works of Pressberger & Powell, the Korda brothers and Olivier.)

Claude Rains is perfectly cast as the cynical, world-weary and "ready for the knife" Julius Caesar. I'm not sure if it's makeup, or perhaps lighting, but Rains's face looks like it was taken from one of those memorial portraits in the Roman catacombs. In any case, while it may be Caesar's countenance we see, it's Shaw's voice we hear. I love Claude Rains in everything, but there's an intimacy with Rains here that makes "Caesar and Cleopatra" one of my Rains favorites.

And Vivian Leigh. What can I say? Her Cleopatra is Scarlett O'Hara, except that while Scarlett's flirtations were matters of the heart, Cleopatra's were purely matters of state. In the beginning Cleopatra is a sheltered, naive...well, princess. By the end, she has learned well at Caesar's knee and possesses the ruthlessness and guile of statecraft - she is a queen.

Another delight is Stewart Granger's swashbuckling Apollodorus, and Flora Robson has a delicious part as Cleopatra's nursemaid Ftatateeta. Robson is well qualified as a tutor of royalty, having herself played Queen Elizabeth in "Fire over England".

Like another classic British spectacle, "The Four Feathers," "Caesar and Cleopatra" is one of the treasures in my film archive which I view repeatedly alone.

Bernard Shaw does not perhaps adapt too well to the screen, but, in my opinion, this adaptation is particularly successful and probably the best of them all, although one video edition in the UK didn't even risk mentioning Shaw's name anywhere on the box, prefering to market it as mere exotic spectacle. It is of course all that, but as with everything Shaw wrote, much, much more, and is essentially about IDEAS, (not necessarily, as has often been contended, always Shaw's own personal convictions). Vivien Leigh as Cleopatra gives yet another sublime and first-rate performance as she progresses from frightened teenager to an imperious Queen with a real understanding of power. (The scene in which she whips a hapless slave in order to experience the "thrill" of total power, strangely pre-echoes the psychology of the much misunderstood SALO). Mention too must also be made of the superb musical score by Georges Auric, and admiration expressed for the sheer audacity of producer Pascal for making such a lavish and expensive production in poverty-stricken post-war Britain. Well worth watching.