Prince of Foxes

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.

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 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 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?

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.