Jules César

50 years after the fact, the most interesting angle on Mankiewicz' 'Julius Caesar' is perhaps the blend of acting styles that characterizes it. With Mankiewicz dialogue is all, and it is a source of endless fascination to me how he manages to make this a uniformly brilliantly acted film.

Mankiewicz doesn't strive to open up the play and make it naturalistic, but he does allow his camera to roam freely, creating space around his characters. But it is in his directing of the actors that he excels, the way that he shows the fragile dynamics in the crowd of conspirators before and after their stabbing of Caesar even more than in the famous monologues. Will history frown upon them? Or applaud their act? "That we shall die, we know", all else is uncertain.

Of course the key scene of the film and Shakespeare's play, takes place right after Caesar's assassination. The rabble has gathered at the Capitol to hear Brutus explain himself, and James Mason, in a refreshingly un-actorish way, beautifully defends Brutus the well-intentioned butcher, laying bare the dilemma of the noble assassin. It was "not that I loved Caesar less, but that I loved Rome more", and he sways the crowd with his rhetoric.

Then Brando takes the floor, speaking up for his benefactor, the slain Caesar: "Friend, Romans and countrymen, lend me your ear", he says, having carried the bloodied corpse out in his arms. His speech gradually builds in momentum, and the sheer excitement of watching Brando's performance today is reason enough to watch the film. How elegantly, deftly he speaks treason against Brutus and the new would-be rulers. "They are honourable men", he says, and the discrete colouring of the adjective makes it obvious how Mark Anthony really feels about it. "If you have tears, prepare to shed them now" indeed. There are layers in Brando's performance that warrants more than one viewing, just the tolerant half-smile when he is playing the rabble for suckers. "Ah, how you weep". His unfathomable half-smile turns up again near the end, and it speaks volumes.

Of course, John Gielgud as Cassius is volatile and very rooted in the British thespian tradition which doesn't lend itself easily to film in my opinion. Film actor Edmond O'Brien is great as the ambitious and untrustworthy Casca, but unfortunately the women have little to do. Brutus' wife Portia is played by Deborah Kerr who never looked more stunning than here, and she delivers her few lines with conviction. Greer Garson is Caesar's wife, warning him against making an appearance at the Capitol on the fateful day, but she is hardly given any screen-time.

The film is not the last word in Shakespeare in any sense of the word, but it is entertaining and true to what it sets out to do. And the acting styles blend together wonderfully.

Joseph L. Mankiewicz's 1953 film exploring the life and death of larger than life Julius Caesar wastes no time engaging the audience. With Louis Calhern in the titular role and Marlon Brando as his faithful friend Mark Antony, the film goes into great detail about what gets Caesar killed by associates of his, and even greater detail of the thirst for power after his death. Julius Caesar, the film, goes down a dark road proving Nietzsche's Will to Power lives within even the most trusted of our allies.

Caesar is enjoying more praise than ever when he returns to Rome after defeating Pompey. During a victory celebration Caesar attends with his most trusted allies Cassius (John Gielgud) and Brutus (James Mason) he is warned by a Soothsayer to beware the Ides of March. Caesar ignores the warning and goes about the celebration unknowing that conversations are taking place regarding his rise to power. They believe Caesar to be untrustworthy and think he will become a tyrant. Fueled by lies and anger, a plot is masterminded to murder Caesar. On the 15th day of March, Caesar prepares to go to the senate, his wife Calpurnia (Greer Garson) begs him not to go due to a vivid dream she had in which Caesar was murdered. Caesar scoffs and goes anyway, being warned by another Soothsayer along the way. Ignoring this second warning, Caesar makes his way to the senate where the conspirators circle him and begin to stab him one by one. Upon seeing his dear friend Brutus among the murderers, Caesar succumbs to his wounds and dies. Mark Antony (Marlon Brando), who was led away from Caesar on the fateful day under false pretenses, joins with Caesar's adopted son and successor, Octavius (Douglass Watson) to avenge his death. They achieve their goal with Cassius and Titinius (John Parrish) being killed in the war that ensues, leaving only Brutus left alive of the conspirators. Seeing death as inevitable, Brutus kills himself and is pardoned by Octavius as acting, in what he believed, to be the best course of action for Rome.

Audiences are immediately engaged in the film from the very beginning. A gripping speech in the opening scene catapults the audience to ancient Rome, bringing it alive through the production design mimicking Roman architecture and language. For one, Caesar dies at almost exactly halfway through the film. I personally love a movie that will throw the audience for a loop by killing off its main character. Of course, being familiar with the play Julius Caesar, I knew he would be killed, but I did not know he would be killed so early on, leaving half the film to deal with the aftermath of his murder. Likewise, Marlon Brando's Mark Antony was hardly in the first half of the movie; being a fan of Brando's I was initially disappointed about this, however, he more than makes up for his absence with a strong second act. The costumes and production designs were an absolute treat, recreating ancient Rome, and making me feel like I had gladiator sandals on. The film was more than deserving of the Oscar it received that year for Art Direction (encompassing set decoration). I am shocked however that it wasn't even nominated for a statuette in the Costume Design category. The ghost Caesar that haunted Brutus was a directorial feat considering the time in which the picture was filmed. Its looming presence agonized Brutus, leading him to believe that Caesar was not at rest. The film was a stunning achievement of its time and one that I recommend be enjoyed by all. Personally, I have a yearly tradition of watching this film every year on the Ides of March and it has yet to get old.

I am certainly a fan of the bard's work. Therefor I was pleasantly surprised to see this movie and hear that it was almost the complete original text they used for the dialogue. Without subtitles it was a chore to keep up with, but when you do you are in for a treat.

This classic tale of politics, treachery, love and death was performed to perfection by people such as Marlon Brando (Marc Antony), John Gielgud (Cassius, delivering a powerhouse performance as usual), James Mason (Brutus). I was thrilled by the fact that this movie was produced so lavishly and yet so humble. It never made the mistake, like Cleopatra, to depict the scenes too grand. It all stayed very natural and believable. Of course there must be historical inaccuracies in this story, but was Braveheart so accurate. I think when you start watching a movie written by the Shakespeare you shouldn't expect a documentary on the life of Julius Caesar but a lyrical tale about ancient political Rome.

The photography was great, with its glorious Black and White footage.

Although the text can be offputting for some who are not at the least a bit interested in the language the Bard wrote in.

A must for Shakespeare fans.

8/10

1953's JULIUS CAESAR was a milestone in it's time, and still is, perhaps, the finest American production of a Shakespeare play ever recorded on film. Until Joseph L. Mankiewicz's production, only Laurence Olivier's British versions of HAMLET and HENRY V had truly displayed the power and poetry of the Bard's work. Hollywood seemed content to either truncate it in miscast all-star extravaganzas (A MIDSUMMER NIGHT'S DREAM, and ROMEO AND JULIET) or turn it into a weird kind of carnival sideshow (Orson Welles' MACBETH, performed with incomprehensible Scottish accents). Perhaps American film makers were afraid audiences would be put off by Shakespeare's text, with its archaic words, or felt that a British cast and the confines of a stage were 'required' to do a 'proper' rendition. For whatever reason, the British seemed to have a 'lock' on filmed versions of the Bard.

But Mankiewicz understood that Shakespeare was both universal and timeless, and in his capacity of director and (uncredited) screenwriter, he 'opened up' JULIUS CAESAR, eliminating the 'studio' feel of key scenes, and, with producer John Houseman, gathered together an impressive array of talent, with British actors John Gielgud as Cassius, James Mason as Brutus, Greer Garson as Calpurnia, and Deborah Kerr as Portia, and stage-trained American actors such as Oscar winner Edmond O'Brien in supporting roles.

Where the greatest gamble, and payoff, came was in the casting of Marlon Brando as Marc Antony. While Brando was already being hailed as the finest American actor of his generation, there were critics, prior to the film's release, who called his acceptance of the role an ego trip, and expected him to fall on his face. Were they ever WRONG! Brando gave the role a power, a physicality, and charisma that stunned critics and audiences alike. With a flawless British accent, he easily held his own with the veteran cast, and displayed a magnetism that is still enthralling, over 50 years later. His performance became the keystone of the film's success.

Not that JULIUS CAESAR is without faults; it is, occasionally, stagy and artificial, the pacing is a bit too slow and deliberate at times, and, as the title character, Louis Calhern is woefully miscast (he looks and sounds more like a jaded grandfather than the charismatic despot who both enthralled and frightened the Roman world). Still, the film is so strong and dynamic that subsequent versions (such as Charlton Heston's ambitious 1970 production) pale in comparison.

Hollywood finally got it 'right', and we can be grateful that a truly unforgettable presentation of JULIUS CAESAR is available for us, and future generations, to enjoy!

'Julius Caesar' is not one of Shakespeare's best plays, neither is it one of his worst. The final scene is rarely nailed and the supporting characters are a lot more interesting than the titular character, but much of the characterisation is very well rounded, is intriguing thematically and has some of the bard's most famous speeches and lines. Further interest points in seeing 1953's 'Julius Caesar' was its fine cast, that it was directed by Joseph L. Mankiewicz and that it was scored by one of the greatest film composers at the time Miklos Rozsa.

Found myself not disappointed in 1953's 'Julius Caesar' at all. It may not be a perfect film, but it is one of the better adaptations of the play out there on its own merits and to me one of the best film adaptations of any Shakespeare play. Which is quite a compliment considering that great Shakespeare film adaptations are many, whether traditional or not. Adaptation-wise, there are changes and things left out but the spirit of the play is here and ambience wise and emotionally it's faithful.

There is so much to love here in 'Julius Caesar'. It is exquisitely photographed, though if it were in colour there would have been an even grander look, never trying to do too much while not being too constricted. The 'Quo Vadis'-like sets are grand and lavish, if the budget really wasn't huge that was not obvious here. Rozsa's score is typically lush and sweeping and has a real majesty about it.

Mankiewicz directs beautifully and it was appreciated that he went for drama rather than spectacle, which to me was the right approach that it would make the text resonate more and it lessened the risk of the characterisation being swamped. The drama has intensity and emotional impact in the play, both of which brought out wonderfully. The text does not sound stilted and is poetic and thoughtful, though like all Shakespeare it is talk heavy as a word of warning. The final scene is a problematic scene to get right, this is one of the better interpretations of it. The action excites and moves.

Almost all of the performances are superb. It was a very bold move casting Marlon Brando as Marc Antony, he sears in the role with a lot of fire and dignity. The famous "friends, romans, countrymen" speech is given one of the best and most nuanced interpretations here on film. James Mason is a similarly powerful Brutus, he brings out the character's conflicted feelings with sensitivity and a noble quality (despite what Brutus does, one cannot hate him). John Gielgud was similarly born for Cassius, the envy boils but is not exaggerated and Gielgud has a clear command over the language. Greer Garson and Deborah Kerr make the most of their small roles.

Only Louis Calhern disappoints as a rather bland Caesar. The pace initially is a little deliberate.

Excepting those quibbles, this is a great film version of 'Julius Caesar'. 9/10