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Giulio Cesare

Titolo originale: Julius Caesar
  • 1953
  • T
  • 2h
VALUTAZIONE IMDb
7,2/10
13.706
LA TUA VALUTAZIONE
Marlon Brando, John Gielgud, Deborah Kerr, James Mason, Greer Garson, Louis Calhern, and Edmond O'Brien in Giulio Cesare (1953)
Official Trailer
Riproduci trailer1: 25
2 video
99+ foto
DrammaStoriaTragedia

La crescente ambizione di Giulio Cesare è fonte di grande preoccupazione per il suo caro amico Bruto. Cassio lo convince a partecipare al suo complotto per assassinare Cesare, ma entrambi ha... Leggi tuttoLa crescente ambizione di Giulio Cesare è fonte di grande preoccupazione per il suo caro amico Bruto. Cassio lo convince a partecipare al suo complotto per assassinare Cesare, ma entrambi hanno gravemente sottovalutato Marco Antonio.La crescente ambizione di Giulio Cesare è fonte di grande preoccupazione per il suo caro amico Bruto. Cassio lo convince a partecipare al suo complotto per assassinare Cesare, ma entrambi hanno gravemente sottovalutato Marco Antonio.

  • Regia
    • Joseph L. Mankiewicz
  • Sceneggiatura
    • William Shakespeare
    • Joseph L. Mankiewicz
  • Star
    • Louis Calhern
    • Marlon Brando
    • James Mason
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,2/10
    13.706
    LA TUA VALUTAZIONE
    • Regia
      • Joseph L. Mankiewicz
    • Sceneggiatura
      • William Shakespeare
      • Joseph L. Mankiewicz
    • Star
      • Louis Calhern
      • Marlon Brando
      • James Mason
    • 95Recensioni degli utenti
    • 35Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Vincitore di 1 Oscar
      • 7 vittorie e 7 candidature totali

    Video2

    Julius Caesar
    Trailer 1:25
    Julius Caesar
    Julius Caesar
    Trailer 1:25
    Julius Caesar
    Julius Caesar
    Trailer 1:25
    Julius Caesar

    Foto103

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    Interpreti principali93

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    Louis Calhern
    Louis Calhern
    • Julius Caesar
    Marlon Brando
    Marlon Brando
    • Mark Antony
    James Mason
    James Mason
    • Brutus
    John Gielgud
    John Gielgud
    • Cassius
    Edmond O'Brien
    Edmond O'Brien
    • Casca
    Greer Garson
    Greer Garson
    • Calpurnia
    Deborah Kerr
    Deborah Kerr
    • Portia
    George Macready
    George Macready
    • Marullus
    Michael Pate
    Michael Pate
    • Flavius
    Richard Hale
    Richard Hale
    • A Soothsayer
    Alan Napier
    Alan Napier
    • Cicero
    John Hoyt
    John Hoyt
    • Decius Brutus
    Tom Powers
    Tom Powers
    • Metellus Cimber
    William Cottrell
    • Cinna
    Jack Raine
    Jack Raine
    • Trebonius
    Ian Wolfe
    Ian Wolfe
    • Caius Ligarius
    Morgan Farley
    Morgan Farley
    • Artemidorus
    William Phipps
    William Phipps
    • Servant to Antony
    • (as Bill Phipps)
    • Regia
      • Joseph L. Mankiewicz
    • Sceneggiatura
      • William Shakespeare
      • Joseph L. Mankiewicz
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti95

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    Recensioni in evidenza

    cariart

    All-Star Cast in Faithful Adaptation...

    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!
    10LomzaLady

    They Did the Bard Proud

    I think this is the best filming of a Shakespeare play, in terms of overall success. The filming is straightforward, with a minimum of distractions, cuts were made to the script to keep things moving, the dialog is clearly spoken, and the performances are terrific all around.

    As just about every other comment here notes, if you only know Brando from The Godfather and some of his later, and sorrier films, you will be amazed and impressed by his Marc Antony. This is the Brando that I remember, buff, gorgeous and so talented that we were sure he could play just about any part and blow us away. His performance of the famous "Friends, Romans, countrymen" speech is a marvel of clarity, and is the linchpin that makes all of the other action of the play make sense.

    James Mason is, I think, perfect as Brutus. He is very much like Shakespeare's Hamlet - mulling over every possible facet of every problem he faces, and agonizing to reach a decision. He was a master at portraying a person's ability, or inability, to reach a painful decision. The awesomeness of his responsibility and the consequences of his actions (after all, they are plotting to kill a king) are beautifully shown in his performance.

    John Gielgud is my favorite Shakepearean actor. If you had ever had the privilege of seeing him on stage, you would have gotten the full force of his ability to control the character, the language, and to reach out and hold the audience all at the same time. It doesn't quite come across in this film, but I still think he shows that underneath Cassius' treason there is definitely an element of self-doubt and possibly shame at what he is about to do.

    I have to disagree with most of the comments about Louis Calhern's Caesar. Several people have said that he didn't capture the majesty and military bearing that Julius Caesar would have had, but we have to remember that Shakespeare intended this as drama, not history. The whole point of the Roman senators' wish to get rid of Caesar is that he is no longer the Caesar they remember: he has become a smug, self-satisfied politician who thinks he is a king, while Rome is still a republic. I think Calhern captures this smarmy, oily, arrogant quality very well. Rome wanted a general, and this Caesar gave them a high-priced car salesman.

    I own a copy of this film, and I watch it often. I think it would serve perfectly as an introduction to Shakespeare. By the way, I remember an anecdote related in the memoirs of John Houseman (the producer of this film). He said someone of importance in British theater (I now forget who - possibly it was Geilgud) had observed Brando's performance in the making of the film, and asked him to come to London to star in a Shakespeare festival. Brando said sorry, I can't. I have to get back to Nebraska to help my father get the crop in. Imagine if he had said yes.
    9TheLittleSongbird

    Well worth praising and not something to bury

    '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
    9Quinoa1984

    "the fault, dear Brutus, is not in our stars, but in ourselves as underlings"

    Julius Caesar, the classic story of power corrupting and what happens when it's usurped, is the stuff of a near-masterpiece in 1950's Hollywood. The direction is elegant and timed just right to get the performers on their beats and delivering more and then some. Interesting to see the intensity so LARGE on the fronts of both fronts of British classical-trained theater (John Gielgud, as the most psychologically pathological character, Cassius, fully delivering the goods, plus James Mason being his Mason-iest) and the Method (Brando, seeming like he's always been in these robes - at least this week).

    It's Shakesepare on Golden-age Hollywood scale, but it's kept intimate when it counts, and the material is allowed to shine fully. This is the Godfather of political dramas, and so many, many lines have been taken into just everyday grammar; aside from the 'fault is not in our stars' line, listen for others like ' O pardon me, thou bleeding piece of earth' or 'it was Greek to me'. And yet it's not simply that these actors get some of the meatiest-dramatic lines ever written, like in the history of all civilizations, but that this is all about what it means to have, take, live with, demolish and get back or keep protected Power, with a capital P.

    It's almost unfair to give a proper review to the film after seeing it once, as certain big set pieces - or even a couple of the conversations that Cassius has with Brutus or the other Roman senators plotting the death of their "beloved" Caesar - are quite dense with visual touches and details of performance. When Brando has his major set piece (he's not in as much of the film as you might expect, but his presence is felt more, which seems to be a thing with Brando character), addressing the crowd devastated over the loss of their ruler, it's a pinnacle of acting. He isn't just talking to no one, or to himself. He's making it very personal, all the more sad and that the revenge against the betrayers all the more stronger. How to sway a crowd is the name of the dramatic angle here, and it's the stuff of the best Hollywood dramatic acting, writing and direction (and art direction too, what sets) could offer.

    Is it perfect? Maybe not. The final battle is good but almost, to me, a little short, as if Mankiewicz steps up to make an epic conclusion, but decides to side-step it as if he isn't totally trusting in his capabilities (that would come later, one supposes, with Cleopatra as far as BIG epics went). And yet the final moments with Cassius and Brutus are so effective it makes one want to say nevermind. Especially Gielgud impresses here, with a role that requires a lot of forceful talking, bordering on yelling, with declarations and insinuations and other things - as big as his acting is, just as with Brando and Mason to an extent, though he kind of pulls it back when he can (see the tent scene between Brutus and Cassius before battle), there's subtleties there, little moments you can see the actor working through the emotional logic first, the dense Shakespeare poetry second.

    As with many Shakesepare movies, it may help being familiar with the play ahead of time to get all of the words and idiosyncracies of the Bard prose. But as far as just the core story goes, it's the stuff of legend. Surely one of those films of the 50's, along with On the Waterfront and Streetcar, where you can run it in an acting school and it might almost be enough to show the movie without any lecture to understand how to command attention from a partner, the audience, the whole world.
    7oOoBarracuda

    Beware the Ides of March

    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.

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    Lo sapevi?

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    • Quiz
      This netted Marlon Brando his third consecutive Best Actor Oscar nomination. He had previously been nominated for Un tram che si chiama Desiderio (1951) and Viva Zapata! (1952).
    • Blooper
      A well-known bust of Emperor Hadrian is visible during the early dialog between Cassius and Brutus, and, later, at Brutus's villa. Hadrian wouldn't be Emperor for more than 120 years.
    • Citazioni

      Marc Antony: You gentle Romans. Gentle Romans, hear me. Friends, Romans, countrymen, lend me your ears! I come to *bury* Caesar, not to praise him. The evil that men do lives after them, The good is oft interred with their bones; So let it be with Caesar.

    • Versioni alternative
      Also shown in a computer colorized version.
    • Connessioni
      Featured in Precious Images (1986)

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    Dettagli

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    • Data di uscita
      • 4 giugno 1953 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Julius Caesar
    • Luoghi delle riprese
      • Bronson Caves, Bronson Canyon, Griffith Park - 4730 Crystal Springs Drive, Los Angeles, California, Stati Uniti(battle scenes)
    • Azienda produttrice
      • Loew's
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 2.070.000 USD (previsto)
    • Lordo in tutto il mondo
      • 10.831 USD
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    Specifiche tecniche

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    • Tempo di esecuzione
      2 ore
    • Colore
      • Black and White
    • Mix di suoni
      • Mono(Western Electric Sound System, original release)
    • Proporzioni
      • 1.37 : 1

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