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6,2/10
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LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaAt the height of the Roman Civil War, a young Cleopatra (Vivien Leigh) meets a middle-aged Julius Caesar (Claude Rains), who teaches her how to rule Egypt.At the height of the Roman Civil War, a young Cleopatra (Vivien Leigh) meets a middle-aged Julius Caesar (Claude Rains), who teaches her how to rule Egypt.At the height of the Roman Civil War, a young Cleopatra (Vivien Leigh) meets a middle-aged Julius Caesar (Claude Rains), who teaches her how to rule Egypt.
- Candidato a 1 Oscar
- 2 candidature totali
Anthony Eustrel
- Achillas
- (as Antony Eustrel)
James McKechnie
- 2nd. Centurion
- (as James Mc Kechnie)
Trama
Lo sapevi?
- QuizThe role of Caesar was originally offered to Sir John Gielgud, who turned it down, because he detested Director Gabriel Pascal.
- BlooperCaesar refers to his nose as "rather long" and "a Roman nose," but the idea of a "Roman nose" was not introduced until almost 150 years later, when the Emperor Hadrian erected statues of his favorite, Antinous, throughout the Empire (where many of the people had never seen a Roman), and Antinous's long nose was taken as typical of Romans (even though Antinous was a Greek).
- Citazioni
Julius Caesar: And so to the end of history, murder shall breed murder, always in the name of right, and justice, and peace, until the gods create a race of men that can understand.
- Curiosità sui creditiClosing credits cast list finishes with And The Crowd.
- ConnessioniFeatured in Great Performances: Laurence Olivier: A Life (1983)
Recensione in evidenza
Shaw's hardly a speck on the windshield of American cultural consciousness anymore. Too bad. "The Devil's Disciple," "Major Barbara," "Arms and the Man," "Candida," "You Never Can Tell." Witty, clever, insightful, intriguing... a century and more later.
For those who haven't discovered him yet, this colorful, fast-paced rendition of "C&C" makes a nifty portal. The film -looks- like "Quo Vadis" or "Samson and Delilah" (of more or less the same vintage). It even looks like the Taylor-Burton-Harrison marathon done almost two decades later.
But it doesn't -feel- like -any- of those. Shaw always had a great story to tell -- and a something worthwhile to -say- -- and he (or his characters) almost invariably told and said it well. One could hardly call the 1934 or 1963 films "insightful romps." This, however...
I've been a sucker for Vivien Leigh since I watched her whip the boys into shape in "GWTW," but as interesting as she was there, she's miles beyond Scarlet O'Hara here. Shaw gave -his- Cleo a far more complex character than Young or Mankiewicz gave their Cleo's; this alabaster Leigh is both adolescent and guileful. But to Rains's conflicted but self-suspect Caesar, she's about as transparent as that look-alike, late-night, hottie-cum-biblical-scholar who inherited Gene Scott's TV ministry.
The relationships here are no different from those in the Mankiewicz mess, but they move along in far more sophisticated -- and entertaining -- fashion here. We already know the resolution, it's the unfolding of the drama that matters.
Rains ("Casablanca," "The Invisible Man") and Leigh bring the wise, amused, self-effacing old man and the desperate, manipulative, narcissistic young woman in Shaw's play far more credibly to life than was the case in the DeMille or Manciewicz films. And supporters like Robson, Granger and the rest add plenty. But as in any Shaw play, it's the playwright's sophisticated revelations that matter.
The "big success" narcissist who thinks a "trophy wife" is a good idea might learn plenty from a trip to Blockbuster and a two-dollar investment.
For those who haven't discovered him yet, this colorful, fast-paced rendition of "C&C" makes a nifty portal. The film -looks- like "Quo Vadis" or "Samson and Delilah" (of more or less the same vintage). It even looks like the Taylor-Burton-Harrison marathon done almost two decades later.
But it doesn't -feel- like -any- of those. Shaw always had a great story to tell -- and a something worthwhile to -say- -- and he (or his characters) almost invariably told and said it well. One could hardly call the 1934 or 1963 films "insightful romps." This, however...
I've been a sucker for Vivien Leigh since I watched her whip the boys into shape in "GWTW," but as interesting as she was there, she's miles beyond Scarlet O'Hara here. Shaw gave -his- Cleo a far more complex character than Young or Mankiewicz gave their Cleo's; this alabaster Leigh is both adolescent and guileful. But to Rains's conflicted but self-suspect Caesar, she's about as transparent as that look-alike, late-night, hottie-cum-biblical-scholar who inherited Gene Scott's TV ministry.
The relationships here are no different from those in the Mankiewicz mess, but they move along in far more sophisticated -- and entertaining -- fashion here. We already know the resolution, it's the unfolding of the drama that matters.
Rains ("Casablanca," "The Invisible Man") and Leigh bring the wise, amused, self-effacing old man and the desperate, manipulative, narcissistic young woman in Shaw's play far more credibly to life than was the case in the DeMille or Manciewicz films. And supporters like Robson, Granger and the rest add plenty. But as in any Shaw play, it's the playwright's sophisticated revelations that matter.
The "big success" narcissist who thinks a "trophy wife" is a good idea might learn plenty from a trip to Blockbuster and a two-dollar investment.
- rajah524-3
- 17 dic 2008
- Permalink
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Dettagli
Botteghino
- Budget
- 1.278.000 £ (previsto)
- Tempo di esecuzione2 ore 18 minuti
- Proporzioni
- 1.37 : 1
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What is the Mexican Spanish language plot outline for Cesare e Cleopatra (1945)?
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