Il principe delle volpi

This is the only film whose producer ever rented a country. The tiny country rented to become "Citta del Monte" in Samuel Shellabarger's well-plotted "Prince of Foxes" was actually the real country of Andorra. The historical novel on which this beautifully-paced and emotionally satisfying film was made left Milton Krims, scenarist, with an unsolvable problem--which he proceeded to solve. The plot line involved Tyrone Power as ambitious young Andrea Orsini with Cesare Borgia's scheme to unite and rule Italy; Orson Welles does well as a charismatic Borgia, whose plan it is to marry his sister played by Marina Berti to the Duke of Ferrara; poison will follow, and the key to Italy will drop from the dying Duke's hand into his own grasp. But Andrea must first perform a mission involving the betraying of the strategic Citta Del Monte into Borgia's hands. His Mother, played by Katina Paxinou, is horrified when she hears what he is becoming; and during the mission, undertaken with Everett Sloane as an assassin he takes into service-- his own death having been the one planned--he decides to serve the Lord of the city, ably played by Felix Aylmer and also his daughter, with whom he if falling in love, miscast but hard-working Wanda Hendrix. The final battle is fought, and a happy ending is achieved--for all save Cesare Borgia and those whose death his schemes have wasted. This is a beautiful B/W drama, with lovely sets by Thomas Little,, Alfred Newman's fine music, Leon Shamroy's exquisite photography and period costumes by Vittorio Nino Novarese that I found unforgettable. Kudos also go to Roy D. Webb as 2nd Unit Director for the action scenes that relieve the very competent dialogue portions expertly crafted by director Henry King. This film, which could have been badly made, glows like a ruby set in the hilt of a dagger flashing back the rays of a spring sun. It is well-remembered, and a benchmark of a production against which other historical dramas are measured still.

Despite a comment that Darryl F. Zanuck refused Tyrone Power's pleas to make "Prince of Foxes" in color because he was angry with his star, this is not true. The film was probably made with Italian funds that the studio couldn't get out of the country, and there just wasn't enough money to do this richly-produced film in color. Zanuck was too much of a businessman to let anger ruin a good opportunity. And why would he have been angry? Power was doing another swashbuckler like the big man ordered, wasn't he?

Despite not being in color, "Prince of Foxes" is a glorious-looking film, made on location in Italy. It's based on the Shellabarger novel about Andrea Orsini, a peasant with a fake royal name, who is sent by Cesare Borgia to infiltrate the court of Count Verrano, seduce his wife, and get rid of him so that Borgia's troops can take over his province. Orsini, however, double-crosses his boss.

The acting is marvelous - Tyrone Power is wonderful as the turncoat Orsini, and manages to hold his own against the flashier roles of Cesare Borgia (Orson Welles) and Belli (Everett Sloane). Though I doubt that Welles was terribly into his part, as usual he's excellent. When doing a role strictly for money, he had the habit of arching his eyebrow and intoning that glorious voice to make the audience believe he was doing something. It's only when one sees him as Citizen Kane or in a film like "Tomorrow is Forever" that one realizes these later supporting roles are phoned in. But who better to make the call than master technician Welles. Sloane does a fantastic job as a man who just can't stay loyal to one side and pulls one of the film's big surprises. The part is cut down from the book, which is a pity.

The music, the scenery - amazing. The great halls are like nothing you've ever seen. For once, Tyrone Power has competition for beauty! By the time of Prince of Foxes, he was totally sick of these roles, but he had a few years left before Zanuck turned him loose. It's said that he was too old to be a swashbuckler by 1949 - he was 35, which today is nothing, though he often had to play parts that were intended for someone 10 or even 15 years younger. As a result, he sometimes looked tired out. But not here. Perhaps this film was more tolerable for him because of his impending marriage to Linda Christian, his second wife. In any event, he comes off very well.

One thing I never understood is why Zanuck insisted on casting the post-war Power opposite these vapid starlets - Wanda Hendrix in this, Cecile Aubry in "The Black Rose," Jean Peters in "Captain from Castile" etc. - of these, the only "find" was the wonderful Peters. Hendrix is okay in "Prince of Foxes" but that's about it. The role called for a little more depth than she was able to give.

All in all, beautiful to watch, an intriguing story, excellent acting. Recommended, and, by the way, soon to be released in DVD as part of the Tyrone Power Collection.

The filming of Prince Of Foxes started a two year run for Tyrone Power in which he worked abroad. This film was shot in Italy and following its completion, Power married his second wife Linda Christian. His next project was The Black Rose filmed in Great Britain and then he appeared in the London production of Mister Roberts on stage and then another British film, I'll Never Forget You. I guess we should call this Power's European period.

One thing that Prince Of Foxes was sorely lacking was color in a film that cried for it. I can't conceive of going to Italy and shooting a film about the Renaissance on the very sites of the same and not spending the extra dollars for color. The bean counters at 20th Century Fox got to Darryl Zanuck. As it was one of the two Academy Award nominations that Prince Of Foxes got was for black and white cinematography and the other for costume design.

Tyrone Power certainly looked and acted the part of a Renaissance man. His character is peasant born whose parents worked hard to get him an education because of his talent for painting. But in the Renaissance tradition, Power plays a man of many accomplishments. An excellent duelist, a diplomat, courtier, and military strategist, Power serves Orson Welles who plays Cesare Borgia and his sister Angela played by Marina Berti in all those capacities.

The assignment he takes on for Welles calls for a combination of all those talents, Power is sent to the duchy ruled by Felix Aylmer and his young wife Wanda Hendrix. The mission is to maybe seduce the wife and cause the old duke to die in some manner and then to turn the strategically located duchy over to Welles without loss of life.

Easier said than done after Power sincerely falls for Hendrix, but also becomes friends with the aged Duke.

Orson Welles was in a European period of his own so to speak. Right around this time Welles was busy filming Othello and financing it intermittently. He took roles in Prince Of Foxes and Tyrone Power's next film, The Black Rose for just such financing. He makes an impressive, but subtly sadistic Cesare Borgia, almost my perfect conception of what that gentleman has come down in history as.

Everett Sloane has the most interesting role in the film, but it's also the films chief weakness. His character motivations, his capriciousness are never quite explained. But as it turns out it's Sloane's very caprice on which the plot of the story turns. He plays a professional assassin, loyal to no one.

Director Henry King staged some impressive battle sequences and with the location got the proper feel for what Renaissance Italy might be like. In some sense this film ought to be seen back to back with The Agony And The Ecstacy which essentially is the next generation of Italian politics mixed with art played out on screen.

Even without color Prince Of Foxes holds up remarkably well today. This is one case where Ted Turner's coloring techniques might really come in handy.

This is a highly unusual movie simply because of the subject matter--the Borgias and the consolidation of power in the Italian states during the 15th and 16th centuries. I've gotta admit that this earns an extra point or two just for originality. Power plays a soldier of fortune--a role he is well suited for, as in many ways, it's almost like his pirate movies or Zorro! So, the transition is smooth. Also, the story and supporting actors are excellent. I recommend this film especially to lovers of old films and adventure movies. I think some teens and kids would also enjoy it, but considering the short attention-spans of most kids these days, you might think twice before having them watch this movie (or just force them to watch because it's good entertainment by gum!).

Once again, Welles astounds with his talent. Even though he is not listed in this film's credits as director or writer, the great Welles has left indefatigable stamp of genius on this film. His fascination and artistic absorption with great, unbridled power, moral resistance to that power and the response of the artist has once again propelled him to greatness.

His is a fascinating, swaggering, bemused, sly (as the title implies) impression of the all-powerful Borgia and his near success at corrupting the artist, Orsini. Shades of Citizen Kane and Harry Lyme..?

Naturally, there is a weaselly accomplice (Sloan), and he is terrific too. I found Tyrone Power's performance more than adequate -- for once. Production values were good, too.

But the keynote of the entire production is the masterful Welles. His portrayals are a joy to encounter, maybe because he finds the rich and powerful entertainingly evil, while the rest of us poor mortals find them too intimidating to even acknowledge.

Who cares about Welles' "troubles with Hollywood"? Skip the gossip, people, and THINK about his characters' motives and behavior. And their relevance.

(Talk is cheap. It is easy for the American Film Institute to call Citizen Kane the number one movie of all time, but which side were they on when Welles was being persecuted by his Hollywood peers? And where are they now, when talented independent filmmakers are trying to get their "dangerous" films shown -- or recognized)?

The fact is, with or without support or financing, Welles was in a class by himself. His brilliant mind, rampant creativity, sheer acting ability, courage, originality and artistic integrity have yet to be matched.

There will never never be another Welles...

Back to Prince of Foxes. This is an underrated film. See it for Welles' sake, see it for a Renaissance flash, or just see it for Everett Sloan's eyeballs...