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Cleopatra (1934)

Not Rated | | Biography, Drama, History | 5 October 1934 (USA)
The man-hungry Queen of Egypt leads Julius Caesar and Mark Antony astray, amid scenes of DeMillean splendor.

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(screen play), (screen play) | 1 more credit »
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Won 1 Oscar. Another 4 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Arthur Hohl ...
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Ian Maclaren ...
Cassius (as Ian MacLaren)
Eleanor Phelps ...
Leonard Mudie ...
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Glabrio (scenes deleted)
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Storyline

In 48 BC, Cleopatra, facing palace revolt in her kingdom of Egypt, welcomes the arrival of Julius Caesar as a way of solidifying her power under Rome. When Caesar, whom she has led astray, is killed, she transfers her affections to Marc Antony and dazzles him on a barge full of DeMillean splendor. But the trick may not work a third time... Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

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The love affair that shook the world! See more »


Certificate:

Not Rated | See all certifications »

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Details

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Release Date:

5 October 1934 (USA)  »

Also Known As:

Kleopatra  »

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

In reality, at the time Octavian was only 11 years old, not an adult man as portrayed here. See more »

Goofs

The main doors to Cleopatra's chambers have modern metal hinges. See more »

Quotes

Soothsayer: Caesar, I warned you, the ides of March.
Julius Caesar: The ides of March are here!
Soothsayer: But, not gone!
See more »

Connections

Edited into Spisok korabley (2008) See more »

Frequently Asked Questions

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User Reviews

The best version for those who love kitsch...
11 April 2001 | by (Northridge, Ca) – See all my reviews

Was Demille more daring than any other director or was he just clueless? What does one say when the curtains close on Antony and Cleopatra and suddenly the screen erupts with more sexual symbols than any moment in Hollywood's history? From the phallic symbols (oars) to the yonic symbols (curtains) until finally both orgasmically mesh together in a final combination (a drummer with his drum), the scene tells us we're viewing the artistry of a kinky genius or a shameless carney.

And along with the jawdropping visuals, the film is crammed with juicy Demille-like dialog. Unlike other Demille films, this one has a wonderful cast to deliver his unique oneliners, and there are so many. My own favorites are the moments of dumbdowned Shakespeare. Instead of speaking of Cleopatra's "infinite variety" we are told she is always "many colored" and, of course, instead of "Et tu, Brute?" we get, "You? You too, Brutus?" What can you say about a movie in which Julius Ceasar says "Nope" to his senators? Nothing. One can only savor every delicious moment of camp that only a Demille could serve up.

The Taylor/Burton version is more spectacular, more intelligent, and more historical, but for those who relish kitsch--and this story always lends itself to it--this version is the best.


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