Cleopatra

Was Demille more daring than any other director or was he just clueless? What does one say when the curtains close on Antony and Cleopatra and suddenly the screen erupts with more sexual symbols than any moment in Hollywood's history? From the phallic symbols (oars) to the yonic symbols (curtains) until finally both orgasmically mesh together in a final combination (a drummer with his drum), the scene tells us we're viewing the artistry of a kinky genius or a shameless carney.

And along with the jawdropping visuals, the film is crammed with juicy Demille-like dialog. Unlike other Demille films, this one has a wonderful cast to deliver his unique oneliners, and there are so many. My own favorites are the moments of dumbdowned Shakespeare. Instead of speaking of Cleopatra's "infinite variety" we are told she is always "many colored" and, of course, instead of "Et tu, Brute?" we get, "You? You too, Brutus?" What can you say about a movie in which Julius Ceasar says "Nope" to his senators? Nothing. One can only savor every delicious moment of camp that only a Demille could serve up.

The Taylor/Burton version is more spectacular, more intelligent, and more historical, but for those who relish kitsch--and this story always lends itself to it--this version is the best.

What an extraordinary year 1934 was for Claudette Colbert. "It Happened One Night", "Imitation of Life", and of course, Cecil B. DeMille's version of the epic story, "Cleopatra". It's lush and extravagant especially for the time period, with absolutely marvelous costumes by Travis Banton, and beautiful art deco sets by Hans Dreier. Warren William is solid as Julius Ceasar and Henry Wilcoxon is passable as Marc Antony, but, wow, Claudette Colbert sizzles as Cleopatra. She finds the right balance between regal grandeur and smooth seduction. This movie just squeaked in before the doors of the Hays Code closed, and thank goodness, because she's so beautiful while slinking around in those revealing outfits. There are some fantastic dance/circus performances as well, and the movie is such a visual treat. The dialogue sometimes gets a little silly, but DeMille knew a good story when he saw one, and he knew that sex and violence sold. His ambition in production, both in creating big scenes and in the small details, really pay off, and it's no doubt that this is one of those early films that shaped Hollywood "epic" movies for decades.

Spectacular DeMille hokum that, like most of his work, is hard to dislike despite its flaws. Say what you will about Cecil B. DeMille but he knew how to put on a show. The sets, costumes, and pageantry are excellent. The actors are all very enjoyable even if they ham it up some. Claudette Colbert is sexy and a treat to watch. Warren William's Julius Caesar seems like he would be more at home shooting craps or hustling pool than ruling Rome. Henry Wilcoxon is quite good as Marc Antony. The rest of the cast is solid, as DeMille supporting casts usually were. I have no sympathy for history buffs who gripe about this movie's failure to adhere to historical accuracy. If you watched a movie, especially a C.B. DeMille movie, looking for a history lesson then the fault is on you and not him. It's a fun piece of escapism loosely based on real people and events. Lighten up and enjoy the movie.

Since I am a fan of epics, particularly ancient and medieval ones, I had been looking for this movie for a long time. The name of Cecil B DeMille is probably most associated with his magnificent remake of THE TEN COMMANDMENTS (1956) where he made a total use of his imagination, where, as one of the movie critics said, "lavish sets and grandeur reach its peak." There are also people who love his silent THE KING OF KINGS (1927). DeMille's films do not seem much dated. With these expectations, I bought CLEOPATRA (1934), sat in my chair on one of the frosty evenings and started to watch. The movie involved me so much that after 20 minutes, I had to see it at least to the half, at the half, I admit an undeniable need for seeing it till the end.

The story of Cleopatra has been put on screen several times. From Helen Gardner in 1912, Theda Bara in 1917 (presumed lost) to Claudette Colbert here. The impersonation of Cleopatra was later followed by the great performances of Vivien Leigh in CAESAR AND CLEOPATRA (1945) and, of course, Liz Taylor in ultra long CLEOPATRA by Joseph L Mankiewicz, which had been the only Cleopatra film I had seen before this one. From the very beginning of watching DeMille's film, I was astonished by significant virtues of this high camp production, but realized fully that this film cannot be compared to any other film about Cleopatra.

HUMOR: Maybe this point will seem strange to mention at first, but what mostly struck me in this film was how excellent combination of history and humor it is. The script is full of very amusing contexts that lead a viewer to a wonderful atmosphere. "Together we could conquer the world," says Cleopatra to Caesar on one moonlit night, to which the Roman leader replies: "Nice of you to include me!" "I am dressed to allure you, Antony," says Cleopatra to her new Roman lover. Or after the moment when the half naked girls dance at the ox, Cleopatra says to Mark: "I wish you could see your face now. I'd have more chance with a stone wall." I know that some of these may seem dated, but they make a perfect sense in the scenes alone.

GREAT CAST: Claudette Colbert, though better known for playing in comedies, impersonated two historical figures on screen twice at DeMille's: Poppaea and Cleopatra. While her Roman empress was an object of lust and desire, her queen of the Nile is full of elegance and magnificence. In all these sophisticated fabulous costumes and gowns, she plays Cleopatra so well that she should have won an Oscar for this role. Unfortunately, Cleopatra lost to Ellie Andrews in IT HAPPENED ONE NIGHT. The other great star of the film is Henry Wilcoxon who plays Mark Antony. He gives a marvelous, one of the best performances ever seen in historical epics. Pride, irony, love, and honor are presented by him so memorably that you will never forget this performance. I dare claim that he is a better Antony than Richard Burton in CLEOPATRA (1963). The third star of the film, in my opinion, is not Warren William as Caesar, but C.Aubrey Smith as a Roman soldier Enobarbus. I saw him in several roles, including DeMille's THE CRUSADES (1935), but here, he does an extraordinary job combining his role with honor, pride and wit. However, feminists... be careful! There are slogans said by Enobarbus that are unacceptable! Ian Keith, a mainstay of historical epics, does not give a very remarkable performance as Octavian. He is not bad; however, most historians imagine Octavian differently. Warren William is not bad as Caesar but indeed not the best.

SPECTACULAR MOMENTS: The whole movie is filled with DeMillean splendor. Scene by scene leaves a gorgeous experience for the fans of lavish sets. But three scenes are a must see: first, the royal barge which is elegantly setting off when Cleopatra and Antony are making love (flower petals, dancing girls, enormous sets); second, the gowns and art direction when Cleopatra awaits Caesar on the day of his tragic death (every movement she makes in a gorgeous gown is worth admiration); third, the final shot, one of the most memorable death scenes in cinema ever (this one is hard to describe, it must be seen)! Moreover, Cleopatra's entrance to Rome, which was the moment that the movie with Liz Taylor boasted so much, is more natural in DeMille's. Here, we get the most realistic picture of Roman streets instead of a huge Sphynx statue and rather a parade than an entrance.

HISTORY: The movie is not a very good historical lesson. In this respect, Liz Taylor version supplies you with more knowledge of history. Nevertheless, we all must take into account two aspects: the period the film was made in (the 1930s required more of entertainment than of facts) and by whom it was made. It was Cecil B DeMille, a spectacle lover of crowds, gowns, peacocks, leopards, and lavish sets (late Zygmunt Kaluzynski, a Polish movie critic, once joked that when DeMille was making THE KING OF KINGS, others feared that he would entail 24 Apostles because 12 is not spectacular enough). Therefore, it is important to watch this film as a part of Cecil DeMille.

All in all, it is absolutely right to say that it is not TEN COMMANDMENTS, KING OF KINGS, or SIGN OF THE CROSS that define DeMille most. These are absolutely gorgeous films in all respect. However, the film that gives the picture of his soul and talent is CLEOPATRA. It is, however, not only an unforgettable experience of DeMille's fans, but for all fans of historical epics, Hollywood elite of the 1930s, and love stories. It is simply a must see and a must release on DVD! Though more than 70 years old, some films never fade... it is, undeniably, CLEOPATRA. 9/10

This movie is very different from the 1963 film starring Elizabeth Taylor. This version of "Cleopatra" doesn't take itself nearly as seriously as that film, and actually, it may be easier to watch for that very reason. However, Cleopatra as played by Claudette Colbert is definitely over the top. At times, she is so campy in her role that it seems inappropriate given some of the situations she is in and the gravity of the moment. I often had the sense that Claudett Colbert was straining to bring out a great performance of Cleopatra but that the director was guiding her to overdo it against her wishes and she somehow is letting the audience know! "Cleopatra" walks a fine line between being a tongue in cheek film and between being a serious drama, and sometimes the lines get blurred. Warren William is a bit irritating in his role as Julius Caesar. Henry Wilcoxon fares much better as Marc Antony and this film picks up steam as soon as he arrives on the scene. Several of the bit players are very good in "Cleopatra." This movie has an odd fascination to it. I actually found it to be better the second time I watched it than the first. It's worth watching for film buffs, but perhaps not everyone's cup of tea. I'd give this one an 80/100 despite the fact that it was nominated for "Best Picture" in 1934.