Review by Michael Jacobson
Stars: Elizabeth Taylor,
Richard Burton, Rex Harrison, Roddy McDowall, Martin Landau
Director: Joseph L. Mankiewicz
Audio: DTS HD 5.1
Video: Anamorphic Widescreen 2.35:1
Studio: 20th Century Fox
Features: See Review
Length: 248 Minutes
Release Date: May 28, 2013
How strangely awake I feel
Cleopatra is a name that has become synonymous with
extravagance, mismanagement and waste
so much so that its $44 million price tag (well
over $270 million by today's standards) nearly sank the then struggling 20th
Century Fox studios. They went into the 1963 Cleopatra
production conceiving it as an inexpensive remake of their popular silent classic
starring Theda Bara. What went wrong?
For starters, Elizabeth Taylor's incredible asking price of $1
million to star (the first time an actor's salary had reached that level)
film was finished, with its numerous delays and production problems, her overtime pay
would bring her check to a staggering $7 million.
There were location problems as well
Liz insisted in her
contract that the movie be filmed abroad, and to fulfill that obligation, the production
initially took up home in England. Expensive
sets were built, actors were cast, costumes were designed
but two insurmountable
difficulties would force the film's relocation to Italy: the incessant rain in England, and Liz's bout
with pneumonia that almost took her life. In
the end, nearly a year was spent at the British location.
Millions had been spent by a studio who really couldn't afford it. The end result?
Approximately ten minutes of useable footage.
By the time the production moved to Rome, significant casting changes
had to be made: the actors playing Julius
Caesar and Marc Anthony had spent a year on the film, and now had other commitments. Though this turned out to be even more of a strain
finance-wise, much more prolific actors were given the roles: Rex Harrison and Richard Burton respectively. Burton proved a rich and viable talent with Liz on
screen. Off screen? Well, the rest, as they say, was history.
Toward the end, Cleopatra had become a fiscal nightmare of
garish proportions. With all monies just
about gone, director and co-writer Joseph L. Mankiewicz was forced to cut corners during
the filming of some of the movie's critical battle scenes. No other film was in production at Fox; therefore
all studio expenses whether related or not had to be charged to the picture. A five hour film was finally presented for
release. Mankiewicz thought that two picture
could be made from their material instead of one: Caesar
and Cleopatra and Anthony and Cleopatra. After
all, both Shakespeare and Shaw told them as separate stories. But newly restated studio head Daryl F. Zanuck
felt they had to capitalize on the Taylor/Burton affair while it was the hot gossip talk
of the day: a final cut, at just over four
hours in length, was at last released.
So much has been made about the behind-the-scenes spectacle of Cleopatra
that over the years, people have tended to forget that the film didn't exactly
buckle under the weight of it all. It may
have strained in some places, but it never collapsed.
Despite the excesses and problems, Mankiewicz offered up a superb and visually
stunning achievement with Cleopatra, one that impresses and inspires awe even to
this day. It is said not all of the $44
million spent made it onto the screen, but one viewing will convince you that at least most
of it did.
The sets and art direction are impeccably detailed, as are the
costumes and lighting. There are scenes of
unequalled spectacle in the movie, from Anthony's ill-fated sea battle with Octavian
(McDowall) to Cleopatra's triumphant entry into Rome, as memorable a sequence in film
lore as the Odessa staircase one in Battleship Potemkin.
Rome has never seen an entrance like this since Romulus and Remus,
and it could be said that Rome hasn't seen an entrance like that since
As Mankiewicz indicated, the picture does indeed play like two films. Part one, on the first disc, is the story of
Julius Caesar, who, fresh off of his victory over Pompey in the great Roman civil war
turns his attention to the strife within Egypt. Wanting
a joint rule by siblings Ptolemy and Cleopatra, the beautiful queen proved too ambitious
for her brother's taste, who in turn banished her from Alexandria. Using her charm, her wits, and her undeniable sex
appeal, Queen Cleo persuades Caesar to use his influence in putting her solely on the
throne. Eventually, her ambitions become his: supposedly a Republic, she convinces him that he
is beloved enough of Rome to ask for a coronation as emperor. That ambition ended very badly for Caesar on the
Ides of March.
His longtime companion Marc Anthony soon takes up where Caesar left
in Cleopatra's bed. The Roman
empire is divided up between himself and Octavian, but when Anthony's loyalties are
questioned by the citizens of Rome, another civil war brews. This leads to the aforementioned sea battle, and
the eventual dooms for both Anthony and Cleopatra.
As a political figure, Cleopatra is the stuff of legends. Her ambitions, they say, altered the course of
civilization by bringing irrefutable strife within the Roman empire. Her beauty is equally legendary, as she seduced
two of Rome's most powerful leaders, but died before she would accompany a third,
Octavian, back into Rome. It's no
mistake that Elizabeth Taylor was needed for the role, even over the likes of Joan Collins
or Audrey Hepburn, and even with such a price tag attached.
Fresh from her Oscar winning role in Butterfield 8, Liz's unparalleled
looks brought the Egyptian queen to smoldering life on screen.
Even more impressive is Burton:
brash, bold and authoritative, he brings Anthony to life with all his braveries and
fears, ambitions and apprehensions. His
chemistry with Liz was something very few actors shared, and it would repeat itself in
later films like Taming of the Shrew and Who's Afraid of Virginia Woolf?
The film is too long, to be sure
at least for a single
night's setting. If broken up over
consecutive nights, treating them like the two separate pictures Mankiewicz had
envisioned, it becomes much more palatable and easier to lose oneself in the movie (though
the second part with Burton is, in my opinion, much stronger and more engrossing).
Despite the problems, Cleopatra serves as a landmark epic film
when epic films were truly taken to extremes. It's
a dazzling, enthralling production with sumptuous visuals, savory performances, and a
juicy back story to discuss long after the credits have rolled. It may not be entertainment at its best, but
certainly entertainment at its most complete.
Gorgeous, gorgeous, gorgeous! Let
it clearly be stated that Fox has officially raised the bar for pre-1970's movies on
Blu-ray. From the opening moments, I found myself
in a state of euphoria over how flawless the transfer looked, and I waited nervously for
the inevitable breaking of the spell. It
not once in the entire four hours. Light
scenes, dark scenes, it didn't matter. The
coloring and detail in every frame was superb, from the subtle shade differences within
scenes to the flesh tones, to even the nighttime coloring.
The skies and waters were impeccably blue, the fields deep green with tiny but
distinctive differences in tone, and the gold shimmered with spectacular flair. The sharpness was incredible, as many scenes were
constructed to lead your eye further and further back into the scene
became soft or hazy or lacking in definition. Low
light scenes have remarkably equal strength, with no grain, shimmer or image breakup, and
no murkiness to spoil the beauty of the images. Even
the print was remarkably clean
I would say no more marks or spots than you would see
watching a Blu-ray of any brand new release on disc. Cleopatra
marks the new apex of Blu-ray quality for classic films.
The new uncompressed 5.1 mix is a treat. Dialogue is
crystal clear throughout, and Alex North's score is potent and forceful, and the track
definitely offers more openness and dynamic range than the 2 channel one. Certain scenes, like the interior of
Cleopatra's tomb, make good use of surround for word echo and reverberation. Apart from that, there's not much in the way
of noticeable distinctness from the rear stage. This
is still a quality listen for an older film, but not quite up to the superiority of the
What used to be three DVDs now encompasses
only two Blu-ray discs, but everything you would expect is here. It begins
with a solid
commentary track, which features Chris and Tom Mankiewicz, sons of Joseph L. and quite the
experts on their father's work and style. Also
included are Martin Landau and Jack Brodsky. The
track is occasionally a little sparse, but still filled with good information.
The set also features one of the best movie documentaries I've ever seen on disc: Cleopatra:
The Film That Changed Hollywood. This
two hour special is a terrific evening's entertainment in its own right: filled with detail, gossip, information,
behind-the-scenes stories and photos and unused footage, this film chronicles everything
that truly was and has since come to be known about Cleopatra. A second featurette is contemporary with the
actual movie: The Fourth Star of
also good, but not quite as much as the former. There are numerous trailers, Movie Tone newsreels
about the film's New York and Hollywood premieres, and a large stills gallery that
includes photos and set and costume sketches. All
three discs also boast attractive and appropriate animated menus.
Before there was Waterworld or Titanic, there was Cleopatra, still by modern standards the most expensive and arguably most troubled production in Hollywood history. It's an overly long but still largely enthralling visual spectacle that manages to preserve the human drama amidst the most impressive sets, locations and costumes ever captured on film. Classic movie fans should definitely give this Blu-ray a curiosity spin, if for no other reason than to see the most beautiful transfer of a pre-1970's movie yet presented and the excellent features package.