À Sombra das Pirâmides

Heston managed to "open up" the play without losing the intimacy of the love story. The stately epic lives side by side with the intense love story. When the wounded Antony looks up to Cleopatra's tomb and cries "I am dying Egypte, dying!" I got it. The passions of such great leaders shake nations to their core.

This one is about Heston, on the verge of losing his matinée idol status by 1974 but with the acting seasoning of more than two decades. He tackles Shakespeare and brings his own experiences of filming Julius Ceasar, El Cid and Ben Hur to the table.

It is a labour of love indeed, but also one of determination. Bravo! Still waiting for the DVD with plenty of extras. This film deserves to be re-visited by scholars.

I personally enjoy this version of Shakespeare's play in film form. It's beautifully filmed, directed, edited, acted out, written and the costuming and the sets are lavish. I feel as if I am taken back to ancient Rome and Egypt, I am also taken back to my childhood.

I'm not sure why some have a disdain for it. Some seem to dislike Charlton Heston in this one. To me, he's just as good in this film as any of his other films. But each of us are entitled to have our on opinions about Heston and this film adaptation.

I personally feel this film is a worthy entry in to the epic historical drama realm. It's almost up there with Ben-hur and The Ten Commandments.

7.5/10

This epic period drama produced in the early-'70s was Charlton Heston's third cinematic performance as Marc Antony a propos of versions of 'Julius Caesar' produced earlier in his career in 1950 and 1970 - the latter starred that great English classical actor Sir John Gielgud as Caesar. Financed by Folio Films, the Rank Organisation, Zurich-based Transac and the Spanish backer Izaro Films and filmed at Madrid's Moro Studios, Alcazaba and Aranjuez plus the deserts of Tabernas in Almeria between June and August 1971 and released in that greyest of hippy years -1972 - this is a very credible, economic production and is full of classical things. I was most impressed by the visual relationships - a vigorous gladiatorial combat scene, the alien pyramids and temples, lavish costumes, interesting props that include a huge marble head of Apollo and statues of Venus, glittery bronze door panels, an ebony throne, high-stepping feather-plumed plumed Roman horses etc plus a lush romantic light classical score composed by John Scott. The abundant Spanish sun is astonishing and the camera records the zeitgeist and passage of time in the summer and autumn of 1971 so well. Heston's grandiloquent performance in some scenes can be compared to the flair of those other important American stars - Marlon Brando and Kirk Douglas in two adventure films: ''Burn!'' (1968-1970) and ''The Light at the Edge of the World'' (1971) respectively, also produced at the end of the '60s/beginning of the '70s. In the aftermath of the Battle of Actium, Heston with his hawk-like profile seems strangely self-willed - sporting an auburn caesar cut and black cape he bestrides the Mediterranean surf like a colossus - he shows an astonishing sense of projection. Antony's death scene - when he is stabbed by his servant features a strange Spanish night-time setting - the subdued light is very evocative while the funeral scene features a monumental square grey-blue slab and other interesting classical world props. The English actors - the young blond John Castle as Octavian and thin, greyhaired and dark-eyed Eric Porter as Enobarbus are very good. Charlton Heston's 16-year-old son Fraser was involved on the set and in an interview from 2009 featured on the retail DVD he remarks that his father was inspired by the 'mystique' of Spain. Hildegard Neil who plays Cleopatra is married in real life to Yorkshireman Brian Blessed who played Augustus in the B. B. C. Period drama series ''I, Claudius'' (1976). For me, this is Chuck's second most interesting performance after his epic role in Peckinpah's ''Major Dundee'' ('64-65) which was filmed in Mexico.

Ever since I studied it at school, I have regarded "Antony and Cleopatra" as one of Shakespeare's greatest plays. It is both a "love tragedy" like "Romeo and Juliet" and "Othello" and a political tragedy like "Macbeth", "Coriolanus" and "Julius Caesar" to which it forms a sequel. It has long been popular in the theatre, but has proven to be less so with film-makers. This is the only feature film adaptation to have been made of it in the sound era, although there were two silent versions and there have been several made for television. None of the great cinematic Shakespeareans, such as Olivier and Branagh, have been tempted to have a go at it. There was, of course, the 1963 epic "Cleopatra" with Elizabeth Taylor, but although the second part of that film told essentially the same story it did not use Shakespeare's dialogue.

Fortunately, the late Charlton Heston shared my love of the play and decided to film it with himself as Antony. He originally asked another great Shakespearean, Orson Welles, to direct, and then also took on the role of director when Welles turned it down. This was Heston's first directorial credit, although it was an open secret in Hollywood that he had taken over the direction of "Major Dundee" when Sam Peckinpah was incapacitated through alcoholism. He was only to direct one more feature film, "Mother Lode", although he also directed a made-for-television version of "A Man for All Seasons".

Despite the title, there are actually three people at the heart of this drama, the third being Octavius Caesar, Antony's political rival. Throughout the play there is a contrast between Rome and Egypt. Rome stands for the masculine, for stability, order, morality, the martial virtues and for self-denial. Egypt stands for the feminine, for love, sensuality, mutability and for self-indulgence. (Shakespeare clearly understood the concepts of yang and yin long before they were formally introduced into Western thought from Chinese philosophy). The film was shot in Spain, which provides an appropriately "Mediterranean" look, although I would have preferred it if it could have been shot in Italy and Egypt, to bring out this contrast between two different worlds. Budgetary considerations, however, may have precluded this.

Caesar is the prime example in the play of Roman values, Cleopatra of Egyptian ones. Antony, who wants both political power and the love of Cleopatra, is caught between the two. At one point Caesar tries to heal their political rift by organising a marriage between Antony and his sister Octavia, but we know this will never work. Although she is beautiful and virtuous, Octavia is too much the Roman maiden, and too much her brother's sister, for her ever to be a serious rival to Cleopatra in Antony's affections.

I think that Heston plays Antony in the right way, emphasising the fact that his character is not just caught between love and ambition but is also caught between two worlds. Beneath the middle-aged sensualist one can discern the tough Roman warrior which Antony once was. John Castle's Caesar may have an authoritarian streak as well as a puritanical one, but it would be wrong to see him simply as a villain. Beneath the youthful prig one can discern the future Emperor Augustus, the statesman who was to restore peace and stability to the Roman Empire after decades of civil war. Among the supporting cast mention must be made of Eric Porter as Antony's lieutenant Enobarbus, who starts off as a cynical observer of events but then becomes a tragic hero in his own right when he has to decide between remaining loyal to his old friend Antony and throwing in his lot with Caesar, who appears certain to emerge victorious.

There will always be controversy about Cleopatra's ethnicity; the historical character was of Greek descent and therefore probably Caucasian in appearance, but lines in the play itself suggest that Shakespeare thought of her as a black African, and she is sometimes played by black actresses in modern stage productions. In 1972, however, a love affair between a white Antony and a black Cleopatra would have been controversial, at least in America, and the role went to the British actress Hildegarde Neil. (The previous year, in "The Omega Man", Heston had played a character in a romantic relationship with a black woman, but in that film their love was only one small element in the story. In "Antony and Cleopatra" the love between the title characters is the whole point of the play). Neil certainly had the looks for the part, and speaks her lines well, but I felt that she lacked the sensuality and seductive allure which Taylor brought to the role.

The film was not well-received by the critics when it first came out and only had a limited release in the US. Even today it is not well-known and rarely turns up on television. (Fortunately, I caught it recently on one of those rare occasions). Yet in my view it is a well-crafted piece of cinematic Shakespeare which deserves to be better-known. It can certainly stand comparison with Olivier's trilogy of Henry V, Hamlet and Richard III. 8/10

A goof. Octavius Caesar's lieutenant Marcus Agrippa is portrayed here as an elderly man with a grey beard, much older than Caesar himself. In fact, the two men were around the same age. Also, surviving portrait busts of Agrippa show him as clean-shaven.

In Fraser Heston's forward to his father's Anthony And Cleopatra that is on the DVD that I just bought he mentions that his father was ever mindful of the mammoth Elizabeth Taylor film that only came out nine years earlier. He wanted to do something different and in that I felt that Charlton Heston failed.

Not that this is not a good production, it most certainly is, but it did not break any new ground in that regard in the way that Laurence Olivier's Shakespeare films had done. Heston is a stalwart and resolute Mark Antony who for the first time in his pantheon of classical heroes on the screen is really quite the fool, but a fool for love as history has brought Antony down to us.

He terribly underestimates Octavian played by John Castle who is best known as Prince Geoffrey of Anjou in The Lion In Winter. Heston marries Carmen Sevilla as Octavia and Castle thinks him and his following tied to the Caesar family. But Heston has a yen for Hildegarde Neil who is every bit as beguiling and seductive as Elizabeth Taylor or Claudette Colbert ever were as Cleopatra.

The sea battle of Actium is always mentioned by historians as one of the twenty or so decisive battles in world history. What is shown here is that it need not be fought, but Heston spoiling for a fight and eager to dust off this young punk Octavian commits to a sea battle with inexperienced Egyptian sailors. That was his downfall or the beginning thereof.

Speaking of which Actium is a nicely staged sequence and done for less money than you would think. Fraser Heston's narrative tells us how.

Antony And Cleopatra is a fine production, not the best Shakespeare adaption, but still quite good. Look for John Castle as Octavian, he really has the character down perfectly.