Julius Caesar

Like another reviewer stated, this is a respectable but highly flawed film adaptation of the play "The Tragedy of Julius Caesar". The performances are respectable enough, depending on the actor one references. Charlton Heston does a great job, but Robards performance as Brutus doesn't weigh in until about half way through the drama, and seems to be a little undirected for the first half of the play. It seems like a lot of the money that went into this project went into paying the actors' salaries, for the art direction gets the period wrong in several places, and puts Marc Antony's famous speech on an indoor set instead of an outdoor plaza as was meant.

The most jarring for the military afficionados is the inappropriate armor and armament for the soldiers. The generals wear naval hats, and the armor is some kind of mish mash from other periods in history. I can only guess that this was done because the director liked the style (which was common for this period in film making for Hollywood to take such atrocious liberties with history).

It's worth it for seeing Chuck Heston's Marc Antony, but the version with Marlon Brando some yhears earlier (shot in black and white) is the one to see.

For all it's flaws, and there are many, this 1970 version staring Heston is worth a look. Heston plays Marc Antony as a passionate loyalist who seethes with the angst of betrayal, and does an ecellent job of it. Gielgud's Julius Caesar is solid, but I think the audience deserved someone with more gravitas and "a martial countenance", to borrow from the language of the time.

See it once.

I've seen plenty bum Shakespeare, but Jason Robards as Brutus he takes me the cake. He resembled nothing so much as a barrel with a head on top. The rest of the cast was pretty good, however, especially Richard Johnson as Cassius (why wasn't HE Brutus), Diana Rigg as Portia and Charlton Heston as Antony. John Gielgud as Caesar does his lines beautifully, as always, but does not quite convey the menace and power of Caesar. (He was better as Cassius in the 1953 version.) Interesting here is the contrast in line delivery between Johnson and Robards; it makes you wonder why Cassius isn't the leader and hope of the conspiracy. Production values are sometimes dubious; but battle scenes are better than the cowboys-and-Indians fight in the 1953 version. Of course, the text is shortened, but all essential scenes are kept.

I don't know why they put Jason Robards in the starring role as Brutus. He is so flat, so emotionless and so miscast, it seriously mars the entire film. How the director couldn't once say "Jason! This is Shakespeare! Step it up a bit!"

No one likes anyone that chews the scenery but Robards is the other end of the spectrum. He sounds like someone giving the morning farm report reciting Shakespeare.

The saving grace of this film is Charlton Heston. It is obvious, he is too old for the role, but his mere presence and performance make up for his age and the flatness in the rest of the production. His "Friends, Romans, Countryman," speech is the finest performance of that speech you will ever witness. It is worth watching this film, simply to witness Heston outshine everyone else in the cast. and make this film worth the watch for his performance alone.

It is sad. I think what this film could have been, had a better actor been given Brutus, but alas, that is not the case. Fast forward through the rest of the film and just enjoy Heston!

One of the things that I always thought about Julius Caesar is that in the life of one of the great movers and shakers of the ancient world, he's merely a figure in which all kinds of people at the end are busy weaving their schemes around, be it his death or his conferred immortality.

Antony and Brutus are each worried about their place in Caesar's affections and Brutus figures he's lost out to Antony. It makes him an easy mark for Cassius's plots. After the dirty deed of assassination is done, it's Antony and Octavius though they are teaming up against the conspirators, you can tell both in this version and in the better Fifties version that MGM put out that they will soon be at odds.

Charlton Heston is a strong Antony here, but unfortunately for the play to succeed you need an equally strong Brutus. That's not what you get in Jason Robards, Jr. For a man who in his time was considered the greatest interpreter of Eugene O'Neill, when it comes to Shakespeare the man was out of his league. No reflection on him, everyone has casting limitations.

A real good interpreter of the Bard who played Cassius back in 1954 plays Caesar here. John Gielgud is equally fine in both versions. And Richard Johnson and Robert Vaughn are superb as conspirators Cassius and Casca. And Richard Chamberlain who was trying very hard to shed his Dr. Kildare image is fine as the cunning Octavian who Antony ultimately underestimates.

Charlton Heston in his memoirs takes blame for casting Robards and Robards himself realized he was miscast. Oddly enough in that earlier version James Mason as Brutus was the best one in the film.

By now in his late forties and sporting an obvious, bright red hairpiece, Charlton Heston seemed an odd Antony when first seen. But Heston remained fit all through his long career. While he does not as much look the part, his Marc Antony provides a sturdy center for this second filming of the Shakespeare tragedy. Also, Charlton Heston had a scholarly side unusual for a Hollywood actor. He clearly gave much thought to this portrayal which on the whole is better than the misplaced Method emoting of Marlon Brando's Antony, some seventeen years earlier.

Featuring a mixed cast of British and American actors, the result is mainly predictable but some surprises and disappointments also feature. One disappointment is Gielgud as Caesar. Sir John was a veteran Shakespearian by 1970 with a fine voice and tons of dignity. Yet at sixty-six he was a touch too old for the part. More to the point, the effete Gielgud lacked the masculine force to play this virile ex-general whose battlefield victories were said to be matched only by his conquests in the bedroom.

One surprise is the subtle portrayal of the conspirator Casca by American Robert Vaughan. "Sour" Casca, the cynical observer, is a minor character but sharply drawn and Vaughan makes him come alive during his few minutes on stage. Jill Bennet is sympathetic as the prophetic wife of Caesar but in the role of Brutus' wife the well-born Portia, Diana Rigg at age thirty-two looks luscious and is simply superb--Shakespeare in the finest style. Another veteran Shakespearian, Richard Johnson, is nearly as good as the jealous, manipulative Cassius.

Jason Robards plays Brutus like a wooden Indian for the first two acts. In the third act however--that is, after Brutus and Cassius have fled Rome--he seems to grow in the part and his acting gains conviction.

The importance of the plebeians to the play was understood by this director, who cast the roles carefully.