Jules César

I don't know why they put Jason Robards in the starring role as Brutus. He is so flat, so emotionless and so miscast, it seriously mars the entire film. How the director couldn't once say "Jason! This is Shakespeare! Step it up a bit!"

No one likes anyone that chews the scenery but Robards is the other end of the spectrum. He sounds like someone giving the morning farm report reciting Shakespeare.

The saving grace of this film is Charlton Heston. It is obvious, he is too old for the role, but his mere presence and performance make up for his age and the flatness in the rest of the production. His "Friends, Romans, Countryman," speech is the finest performance of that speech you will ever witness. It is worth watching this film, simply to witness Heston outshine everyone else in the cast. and make this film worth the watch for his performance alone.

It is sad. I think what this film could have been, had a better actor been given Brutus, but alas, that is not the case. Fast forward through the rest of the film and just enjoy Heston!

By now in his late forties and sporting an obvious, bright red hairpiece, Charlton Heston seemed an odd Antony when first seen. But Heston remained fit all through his long career. While he does not as much look the part, his Marc Antony provides a sturdy center for this second filming of the Shakespeare tragedy. Also, Charlton Heston had a scholarly side unusual for a Hollywood actor. He clearly gave much thought to this portrayal which on the whole is better than the misplaced Method emoting of Marlon Brando's Antony, some seventeen years earlier.

Featuring a mixed cast of British and American actors, the result is mainly predictable but some surprises and disappointments also feature. One disappointment is Gielgud as Caesar. Sir John was a veteran Shakespearian by 1970 with a fine voice and tons of dignity. Yet at sixty-six he was a touch too old for the part. More to the point, the effete Gielgud lacked the masculine force to play this virile ex-general whose battlefield victories were said to be matched only by his conquests in the bedroom.

One surprise is the subtle portrayal of the conspirator Casca by American Robert Vaughan. "Sour" Casca, the cynical observer, is a minor character but sharply drawn and Vaughan makes him come alive during his few minutes on stage. Jill Bennet is sympathetic as the prophetic wife of Caesar but in the role of Brutus' wife the well-born Portia, Diana Rigg at age thirty-two looks luscious and is simply superb--Shakespeare in the finest style. Another veteran Shakespearian, Richard Johnson, is nearly as good as the jealous, manipulative Cassius.

Jason Robards plays Brutus like a wooden Indian for the first two acts. In the third act however--that is, after Brutus and Cassius have fled Rome--he seems to grow in the part and his acting gains conviction.

The importance of the plebeians to the play was understood by this director, who cast the roles carefully.

When it comes to cinematically pulling anything off that has its basis in the world of William Shakespeare, the task can frequently be enormous. In general, Orson Welles and Lord Laurence Olivier (but call him Larry) are the two men most identified with successes at the Bard's work, on both sides of the camera; then there's Franco Zeffirelli (especially with his classic 1968 film version of ROMEO AND JULIET), and the later adaptations of Kenneth Branagh. And much more controversially, there is director Roman Polanski's extremely violent 1971 take on MACBETH, which was as close as The Bard came to outright horror.

And then there's the political/historical tragedy that is JULIUS CAESAR.

The 1953 version, adapted for the screen and directed by Joseph Mankiewicz, was and still is considered one of the best of the Bard's adaptations ever to make it to the screen. And then in 1969, an enterprising and young Canadian producer named Peter Snell decided to mount a new adaptation of this work. The result was, by all accounts, one that arguably fell into the shadow of Mankiewicz's version, which after all had Marlon Brando as Marc Antony; Louis Calhern as Caesar; and Sir John Gielgud as Cassisus, one of the conspirators. Indeed, many consider this film wildly erratic for various reasons, including one quixotic bit of casting that didn't come off. Still, the play is the thing, as the old saying goes.

For this go-around at JULIUS CAESAR, the film is helmed by English director Stuart Burge, who did a yeoman adaptation of the Bard's OTHELLO in 1965, with Robert Furnival faithfully adapting the play to good effect. And you have, in the main, a great cast. Gielgud appears here in the title role, and he does a superlative job. Charlton Heston does a solid turn as Marc Antony (although in his journals he admits that's not such a big trick, since, in his view, if you can't do Marc Antony, you probably shouldn't be doing The Bard in the first place). The film also benefits from the turns given by Richard Chamberlain (as Octavius Caesar), Robert Vaughn (as Casca), Christopher Lee (as Artemidorus), Richard Johnson (as Cassius), Diana Rigg (as Portia), and Jill Bennett (as Calpurnia).

The thing, though, is that a lot of the focus of the play, and subsequently the film, is not so much on Caesar as much as it is on Marcus Brutus, the man torn between his allegiance to Caesar and a need to save the Roman Republic from Caesar's machinations. It takes a solid performance to pull it off really well; and if the actor doing Brutus isn't well versed in Shakespeare, the film will invariably suffer. This is what happens here, with Jason Robards having accepted a role he just wasn't cut out for, when the oft-elusive Orson Welles was unavailable.. What worked in the plays of Eugene O'Neill, and on screen in films like ALL THE PRESIDENT'S MEN, ONCE UPON A TIME IN THE WEST, THE BALLAD OF CABLE HOGUE, and MAGNOLIA doesn't really work well here. He is simply a great actor in a great role, but it was not one that he could have ever showed his best at—though over the course of the film, he does improve.

That having been said, the stellar performances of Heston, Gielgud, Vaughn, and the others make up for Robards' inadequacies; and Burge's direction, while not really on a par with Welles, Olivier, or Zefirelli, is solid enough. Clearly, this isn't the most successful adaptation of The Bard. But given how hard it is to pull Shakespeare off cinematically, it is worth a 7 (out of 10).

This good rendition of the Shakespeare playwright talks about tragedy , ambition , politics , corruption and wars . The film starts in battle of Munda where Julius Caesar (100-40 b.c.) vanquished Pompeyo and terminates in the famous battle of Filipos where the second triumvirate (Mark Anthony , Lepidus and Octavius Augustus : Richard Chamberlain) vanquished Brutus and Cassius . Aristocrat party prepares a conspiracy and on March 15, 44 B. C -Idus of March- Julius Caesar was assassinated in the Roman senate . It remains surprisingly true to Shakespeare's adaptation and working directly from the original , unlike many other historical movies at the same era . Caesar's killing is originally staged , including unexpected frames of the murderous washing their hands in the blood of Julius and below the Pompeyo sculpture.

There's magnificent acting from a memorable Charlton Heston as Marco Antonio , an electrifying John Gielgud as Caesar , a sneaky Robert Vaughn as Casca and a splendid Richard Johnson as Cassius , among them . Performances result to be attractive enough and extending right down to the minor characters , wealthy of expert character-drawing , as Christopher Lee , Diana Rigg and Andre Morell as Ciceron . Directed with imagination and professionalism by Stuart Burge and well produced by Peter Snell that followed a sequel , also little known , titled : 'Marco Antonio and Cleopatra' starred and directed by Charlton Heston . This gripping flick will appeal to Shakespeare devotees , as the deep spirit is intact , in spite of taking some liberties . It's hard to believe this underrated film did not have success , today is much better deemed than the past , containing brilliance of dialogue perfectly played by all-stars . Despite this great cast , it turns out to be inferior than classic film 'Julius Caesar (1953)' considered definitely the best version available , being competently directed by Joseph L Mankiewicz and starred by top-American players as Marlon Brando (similar role Charlton Heston-Marco Antonio) , Louis Calhern (John Gielgud-Caesar) , Greer Garson (Jill Bennet-Calpurnia) , James Mason (Jason Robards-Brutus) , Edmond O'Brien (Robert Vaughn-Casca role) , among others.

One of the things that I always thought about Julius Caesar is that in the life of one of the great movers and shakers of the ancient world, he's merely a figure in which all kinds of people at the end are busy weaving their schemes around, be it his death or his conferred immortality.

Antony and Brutus are each worried about their place in Caesar's affections and Brutus figures he's lost out to Antony. It makes him an easy mark for Cassius's plots. After the dirty deed of assassination is done, it's Antony and Octavius though they are teaming up against the conspirators, you can tell both in this version and in the better Fifties version that MGM put out that they will soon be at odds.

Charlton Heston is a strong Antony here, but unfortunately for the play to succeed you need an equally strong Brutus. That's not what you get in Jason Robards, Jr. For a man who in his time was considered the greatest interpreter of Eugene O'Neill, when it comes to Shakespeare the man was out of his league. No reflection on him, everyone has casting limitations.

A real good interpreter of the Bard who played Cassius back in 1954 plays Caesar here. John Gielgud is equally fine in both versions. And Richard Johnson and Robert Vaughn are superb as conspirators Cassius and Casca. And Richard Chamberlain who was trying very hard to shed his Dr. Kildare image is fine as the cunning Octavian who Antony ultimately underestimates.

Charlton Heston in his memoirs takes blame for casting Robards and Robards himself realized he was miscast. Oddly enough in that earlier version James Mason as Brutus was the best one in the film.