User reviews

You have to understand that Samuel Shellabarger who wrote Prince of Foxes and Captain from Castile, along with several other sabre-rattling novels of the renaissance, was a very popular writer in the 40s and this movie captures much of the romantic mood of his novels. Tyrone Power had appeared earlier in Captain from Castile which had been a hit and this effort including the great Orson Welles as Cesare Borgia, and two great character actors, Katrina Paxinou and Everett Sloane, was a fantastic production. Wanda Hendrix, who was never any great shakes beyond presenting a pretty Hollywood face, did not distract from the film but the scene chewing between Power, Sloane and, of course, Welles (before he became so obese), is classic. Power with his dark handsome Irish face was always delightful in these heroic roles tinged with darkness. Recall that this film was of the same time period as his classic Nightmare Alley. It is an entertaining yarn but, alas, no video or DVD at this writing, so you'll just have to look for it on the late show. Do so because if you like the romantic golden oldies with a bit of swash and buckle, you'll dang sure like this one.

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.

I seem to recall reading somewhere that one of Darryl F. Zanuck's reasons for not bestowing three-strip Technicolor on this otherwise all-the-amenities production was that he was peeved at Tyrone Power, still under contract to 20th-Century Fox at the time, for turning down numerous scripts. That's probably an apocryphal bit of trivia since it wasn't very easy for contractees to turn down very many scripts without a dreaded (and costly) suspension, and also one might guess that the amount of frozen lira available for the extensive location shooting of this stunning swashbuckler wasn't as munificent as would have been needed to ship those cumbersome three-strip Technicolor cameras to Italy and to complete the expensive process of photography and the preparation of final release prints. But there's no doubt that color cinematography would have enhanced the final result.

Nevertheless, as other comments on this title attest, the completed film is one that repays repeated viewings. When I first saw it on a TV broadcast I was especially impressed with Henry King's direction, somehow more flexible and attuned to his actors' capabilities than many of the productions which he helmed on U.S. soundstages. I'll certainly add my praise to other IMDbers' encomiums for the male members of the cast, but there should also be a word of thanks for the lovely Wanda Hendrix's portrayal, convincing as a devoted wife of a much older husband, and the brief appearance as the treacherous Angela Borgia by Marina Berti, whose beauty was soon to grace the Technicolored screen as Eunice in M-G-M's "Quo Vadis?" two years later.

And this film also boasts one of my favorite scores by Alfred Newman. From the main title's opening bars, one knows that this is one of his best achievements, with an exciting sweep and, as the film unfolds, a masterful enhancement of the script's many nuances. This one truly deserves a video release. How about it, Fox Studio Classics?

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.

This is a film with nearly all the elements to have been a great film, yet somehow it is merely good. We have the great Orson Welles during his "acting" career in Europe, and he is still young and full of vitality. His protegee Everett Sloan is there to support him and steal the scenes when he can, and Tyrone Power is at the top of his game, never more attractive nor more charming. We also have one of my favorite character actors, Felix Aylmer (Polonius in Olivier's "Hamlet").

The music and photography are excellent although this film could have benefited from Technicolor. And Director Henry King does his usual great job of giving us action as well as character development.

So where does it fall down? It's the female lead. She is terribly miscast and this fails to give us any real involvement at critical points.

If you like good acting, this film should be viewed.

This was the film by Henry King I least liked - the production is alright but nothing really happens for me until... The supposed blinding scene and the (not so) supposed happy ending. Let me explain myself and hopefully Henry King - this grand master: there are two different versions and two different endings provided simultaneously! This is only done in Shakespeare - As you like it. One for the audience and one for the few.

Just this weekend I stumbled across this lovely film on American Movie Classics (AMC)while fiddling around with the old remote. I was absolutely astounded by the realism of the sets: one felt transported to Renaissance Italy. Castles, palaces, towers were all faithfully replicated. The costumes were gorgeous. The armor and weaponry appeared accurate and deadly. Even the catapults were genuine; they did not appear to be models.

The acting was superb! You take for granted that the performances of Welles and Sloane would be excellent. But the very pleasant surprise came with Tyrone Power's portrayal of Orsini. I never considered Power more than just a pretty face (and an excellent swordsman). However, this film changed my opinion of his acting talents completely. In fact, all the supporting cast turned in satisfying performances.

This is a true gem of a film, I would love to see it on the big screen.

A drama with adventure , romance , action and battles set in Italy of The Borgias . Stars fatherless Andrea Zoppo (Tyrone Power) , a handsome and well-educated man who serves to ambitious Cesare Borgia (Orson Welles) , with his equally corrupt sister Lucrezia , hoping to become the most powerful ruler in Renaissance Italy. Erstwhile Orsini is the Angela Borgia 's lover and nearly as unscrupulous as Caesar Borgia . Orsini, along with Belli (Everett Sloane) , another cunning nobleman and assassin , ingratiates himself with seventy year-old Count Verano (Felix Aylmer) , the governor of the fortified town of Citta del Monte. Over the next few months Orsini becomes more and more impressed by the Count's honor , nobility, and wisdom, he also becomes increasingly enamored with Camilla (Wanda Hendrix) , Verano's twenty year-old wife. Although she reciprocates his feelings, the younger woman remains faithful to her husband, and and doesn't consummate them. When Borgia demands Varano cede troops to his service , he renounces by urgeing to resist him . Orsini at the beginning pledges himself to the cause of defending the tyrant Borgias , but a bit later , he turns the tables .King of romantic epics !.3 years in the making !.A spectacular cast of 50,000 !.Filmed amid the splendor and magnificence of its original locale !

Adventure and thrilling movie set in Italia in the turbulent late 16th century . It is a rousing , moving , stirring tale , but rough-edged fare . Dealing with interesting issues , such as ambition , treason and territory encroachment to unification Italian nation . Tyrone Power gives a good acting , as usual .Tyrone is prettu good as the commoner, masquerades as a member of the noble Orsini family and wins favor with the ambitious and Machiavellian Cesare Borgia, , here Tyrone seems to be more serious than the Swashbucklers or pirate movies he played when his good looks and swordmanship were both at their peak and much competition with Errol Flynn in the adventure stakes , such as : ¨Black Swan , The Zorro , Prince of Foxes , Captain from Castile and The Black Rose¨ . These enjoyable films were all well played by Power who was nearly at his most agile and deft style , as he starred various ¨Sword and Swagger¨ films and was superstar of Hollywood swashbucklers . In addition , there are strong performances from Orson Welles as Caesar , Wanda Hendrix as the young wife and other notorious secondaries as Everett Sloane , Marina Berti, Katina Paxinou , Eduardo Ciannelli and Felix Aylmer as the aging ruler puts the question Borgia's subjects .

It packs an evocative photography in black and white by Leon Shamroy . Shot on location in San Marino , Venice, Veneto, Terracina, Latina, Lazio, Chapel of Palazzo Pubblico, Siena, Tuscany, San Gimignano, Siena, Tuscany , Florence, Tuscany , Italy and Cinecittà Studios, Cinecittà, Rome, Lazio, Italy.Lavishly produced by Sol S. Siegel and Twentieth Century Fox . Moving as well as sensitive musical score by classy maestro Alfred Newman . The motion picture was well directed by Henry King . He was an expert on adventure genre , as Henry made ¨Stanley and Livingstone¨ , assisted uncredited in ¨Son of Fury¨ , directed the masterpiece : ¨The black swan¨ , and ¨Prince of Foxes¨ , the Biblical : ¨David and Bathseba¨ , ¨The snows of Kilimanjaro¨ and ¨Untamed¨ . As well as ¨Lloyd's of London¨ and ¨In old Chicago¨ .Rating : better than average . The flick will appeal to Tyrone Power fans .

The film is freely based on Cesar Borgia . The actual events were the following ones : Cesare Borgia was a Spanish-Italian politician and condottiero (mercenary leader) whose fight for power was a major inspiration for The Prince by Machiavelli. He was an illegitimate son of Pope Alexander VI and member of the Spanish-Aragonese House of Borgia. After initially entering the church and becoming a cardinal on his father's election to the Papacy, he became, after the death of his brother in 1498, the first person to resign a cardinalate. He served as a condottiero for the King of France Louis XII around 1500 and occupied Milan and Naples during the Italian Wars. At the same time he carved out a state for himself in Central Italy, but after his father's death he was unable to retain power for long. According to Machiavelli, this was not due to a lack of foresight, but his error in creating a new pope. Cesare's career was founded upon his father's ability to distribute patronage, along with his alliance with France , in the course of the Italian Wars. Louis XII invaded Italy in 1499; after Gian Giacomo Trivulzio had ousted its duke Ludovico Sforza, Cesare accompanied the king in his entrance into Milan.Cesare was appointed commander of the papal armies with a number of Italian mercenaries, supported by 300 cavalry and 4,000 Swiss infantry sent by the King of France. Alexander sent him to capture Imola and Forlì, ruled by Caterina Sforza . Despite being deprived of his French troops after the conquest of those two cities, Borgia returned to Rome to celebrate a triumph and to receive the title of Papal Gonfalonier from his father. In 1500 the creation of twelve new cardinals granted Alexander enough money for Cesare to hire the condottieri, Vitellozzo Vitelli, Gian Paolo Baglioni, Giulio and Paolo Orsini, and Oliverotto Euffreducci, who resumed his campaign in Romagna.Giovanni Sforza, first husband of Cesare's sister Lucrezia, was soon ousted from Pesaro; Pandolfo Malatesta lost Rimini; Faenza surrendered, its young lord Astorre III Manfredi being later drowned in the Tiber by Cesare's order. In May 1501 the latter was created duke of Romagna. Hired by Florence, Cesare subsequently added the lordship of Piombino to his new lands.On 24 June 1501 his troops stormed the latter, causing the collapse of Aragonese power in southern Italy.

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.

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...

Top-notch performances from TYRONE POWER, ORSON WELLES and EVERETT SLOANE are the main reasons for watching PRINCE OF FOXES, aside from some very striking B&W photography that makes the most of all the Italian Renaissance settings.

Then too, Alfred Newman has composed a masterful score, although I couldn't help notice that the love theme for Power and Hendrix is actually taken from a brief theme from THE SNAKE PIT where de Havilland and Leo Genn are exchanging parting words.

The fictionalized story of Cesare Borgia (ORSON WELLES) benefits from Welles' strong depiction of the elegant and evil man. He's impressive in a film that demands impressive work from its three main actors. TYRONE POWER is magnificent as Orsini, every bit the kind of hero Samuel Shellabarger wrote about for his historical romances. And EVERETT SLOANE, as Belli, a man who switches his allegiances so constantly that you never know which side he's on, is a scene-stealer in a role worthy of his talent.

Only drawback is that Fox filmed it on actual location sites in Italy, giving added realism to all the palace interiors which cry out for Technicolor rather than B&W. Since the story dwells on the dark side, this is not as much of a disadvantage as it might have been. Rumors are that Power very much wanted Technicolor for the film, but Fox was suffering losses in the European market and settled for B&W.

Summing up: Grand entertainment in the lavish, swashbuckling manner prescribed by these sort of historical romances.

First, allow me to say how wonderful it feels to know I am not living alone on a planet in another galaxy -- that this planet actually has people on it who share a common interest with me: The spin-off from Samuel Shellabarger's historical novels (please feel free to read my comments under "Captain from Castile").

Samuel Shellabarger wrote "Prince of Foxes" after he wrote "Captain from Castile," and was therefore a more seasoned and experienced writer whose plot and character development had improved -- hence the previous remarks about Tyrone Power's acting ability: He had more with which to work in his character of Orsini than he did in the role of Pedro de Vargas thanks to Shellabarger's improved skills as an author. Tyrone Power was always a better actor than anyone (especially 20th Century Fox) ever gave him credit for being.

Each time I view my video of "Prince of Foxes" (copied from American Movie Classics) I am, of course, enthralled and mesmerized by Orson Wells' role of Cesare Borgia. I am equally impressed with Everett Sloane as Belli. But whenever I see Sloane as Belli, I can only think of an opportunity missed and Sloane getting shafted out of a nomination for best supporting actor thanks to the screen writer, director, producer and studio high-pockets. Why? Because the character of Belli, in the book, is the most dynamic character I have ever read! His dynamism was only partially revealed in the movie. There are also characters in the book, pertinent to Belli's development and evolution, that never appeared in the movie. In both mediums, we are introduced to Belli as a hired assassin. By the end of the movie, Belli has change his allegiance three times, but in the book, we leave Belli as he has declared for the priesthood -- and this time, I think he was serious!

Everett Sloane is one of my favorite actors of all time. He was the perfect choice for the role of Belli, as much as Wells was the perfect choice for the role of Borgia. But Hollywood did it again: They missed seeing what was right in front of their eyes in Shellabarger's character of Belli.

I agree with almost everything that has been stated by previous respondents about this production. It is wonderful! I can't wait to view my video of it again! I don't think I will ever tire of it. It is truly magnificent! But I think this film should be reshot and Shellabarger's book followed religiously by the script. It would be a much better movie than even this beauty.

The stuff that historical novels and dramas are made of, with enough historic accuracy to make you feel you're learning something while watching, and also an exciting adventure plot as well as a romance, for few can resist a love story!

Tyrone Power's excellent in the role of Andrea Orsini, the morally ambiguous hero of the tale, whose alliance with Cesare Borgia (Orson Welles) suits his ambitions, but then his heart unexpectedly comes into play, when he meets Camilla Verano (Wanda Hendrix).

As for Orson Welles, he gives another of his incredible acting performances, as he becomes Cesare Borgia, as if he himself travelled through time to play the role.

I'll have to admit, I was a bit disappointed in Wanda Hendrix, as her acting seemed rather bland to me, and I didn't feel the chemistry between her and Tyrone, like I did with other of his leading ladies. But of course, you can't have everything!

A worthwhile movie to watch!

Filmed in authentic historic locations, The Prince of Foxes is a gorgeous production with some good Orson Welles action going for it.

His part here is substantial. There are about 8-10 long scenes, many are key scenes. He plays Cesare Borgia, and the entire film is about him and a plot he puts in motion with the help of Tyrone Power's character.

One of the better Welles acting parts. Recommended to those who like these kinds of rapier and robes period pieces. Perfect world for Welles, his voice sounds wonderful in it, and he is convincing as Borgia. For Welles aficionados this one is a 10/10 among the non-directorial pictures. Deserves to be viewed as much as The Third Man.

7/10

One of the first grand scale Hollywood historical melodramas shot entirely on location throughout Italy and at Cinecitta in 1948-9 only a few years after the Second World War, this film benefits from its believable historical settings. Superbly composed and photographed in B&W by one of Zanuck's best cinematographers, Leon Shamroy, and costumed lavishly by the great Vittorio Nino Novarese, the visual aspects of this film add an unusual authenticity to the story. In addition, we have some grand theatrical acting from such classic scene-stealers as the great Katina Paxinao from Greece, England's Felix Alymer (Polonius to Olivier's Hamlet) and America's own wunderkind Orson Welles reunited with his Bernstein from Citizen Kane, Everett Sloane. (Watching Sloane's performance in this film one can only regret that he did not play Iago to Orson's Othello.) The beautiful but rather wooden Wanda Hendrix as Camilla Verana can't compete in this superb ensemble, all directed masterfully by the underestimated Henry King, but the overall effect is magnificent. Who said you can't make a silk purse out of a sow's ear. Not if the sow is Italian!

This beautiful film was actually filmed in Sienna Italy in a palace which can be toured at the foot of the huge piazza and elsewhere in Italy, including Venice. That is why it seemed so authentic, because it is. I used to watch it and it added to my desire to travel to Italy and study Italian history. Finally, I did actually tour the building that was used as the interior of the palaces and I could almost see the film scene for scene as I did. It is another example of the brilliance of Orson Welles. I always watch it when it is played. Tyrone Power is beautiful and I have grown to enjoy Wanda Hendrix performance more with time as she does look a lot like some of the portraits of Italian women of the time. All of the characters look as if they stepped out of Renaissance paintings. As for Orson Welles it is a privilege to see his work and study his acting, directing and film-making.

This is one of the most visually stunning films I have ever seen in the sense of evoking a specific age fused with a mindset. Only El Cid and Ivan the Terrible Pts 1 & 2 come this close. Ironically, for all the perfection of set design, the film was shot in black and white because, if I remember reading correctly, Zanuck got cold feet about costs. But even in this there is a positive result in that it is obvious the Welles-Toland shooting style heavily influenced the cinematography...something color would have stifled. Quite frankly, if you study the camera set ups closely enough you can almost believe that Orson was standing next to the camera man. Worth mentioning also is Alfred Newman's brilliant score which evokes the Renaissance perfectly. The plot is typical Fox hokum and the acting okay to uneven, but both the visual and sonic elements more than compensate to make this an outstanding work of art. Cinastes will understand, and I encourage them to view it.

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!).

I tend to be very critical of 'historical' films but this one leaves little to be desired. The story is gripping, the characters are convincing (especially Tyrone Power, Everett Sloane and Orson Wells) and the sets and costumes are simply stunning. The people who produced this picture really did their homework. On top of all this, the film was shot in Italy, with actual renaissance buildings and artwork in the background (ok ok, one or the other fresco may have been painted only after 1500, when the story is set, but let's not be more popish than the Pope). Why then no more than seven stars? For two reasons. First, I cannot imagine what the producers were thinking of when they decided not to use technicolor. A picture like this one is crying out for glorious technicolor. The cinematography is still very good, but to see this in black and white is nevertheless a pity. Second, the female lead. I believe it was the policy of 20th-century Fox to pair Tyrone Power with relatively unknown starlets. That worked in the case of Captain from Castile, the film that made Jean Peters a star. In the case of Prince of Foxes it did not work. Wanda Hendrix, bland in child-like way, was simply not up to the job: she was completely lacking the emotional depth required of the role. Even in black and white - with just a more competent female lead - this picture would have had the potential to become THE classic Holywood epic of the renaissance. As it is, it is 'just' a very good film.

From the VHS recording I made of Prince of Foxes on Cinemax 8 years ago (as I recall, part of their Summer series of movies not yet out on video), this movie looks as if it was shot in color. Those castle interior scenes are too dark and DP Leon Shamroy too accomplished a technician to film the movie in such subdued lighting. Somewhere in the Fox archives, there may be records to show if Prince of Foxes was originally intended to be a Technicolor release. The most likely reason 20th Century Fox released the movie in black and white is cost, after Zanuck decided that the potential box office of the movie did not justify the greater expense of making the release prints in Technicolor. Or, the reason could be that some of the filmed material turned out for technical shortcomings not to be able to be processed correctly for Technicolor by the film lab. The cost for retakes would have been prohibitive, since the movie was filmed on location in Italy. So, my opinion is that the studio took the cheap way out, processing a black and white negative from the Technicolor film negative, figuring the audience would not notice how the timing was way off.

If there is still a surviving Technicolor negative of this movie in the Fox film archives stored in some cave somewhere, shot in the three strip Technicolor process, there is now computer technology available to correct any defects in the original negative.

On another note, the director Henry King liked low angle shots as much, if not more, than director Michael Bay. This movie is loaded with low angle shots, sometimes to take advantage of the castle backgrounds, sometimes to show a person's bad situation, as when the bound Orsini looks up at Borgia at the dinner table. In 1949, Henry King had been a director for 30 years, and he picked up some good tricks along the way. Too bad 20th Century Fox didn't spring for a Technicolor release of Prince of Foxes.