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On the sidewalks of the London theater district the buskers (street performers) earn enough coins for a cheap room. Charles, who recites dramatic monologues, sees that a young pickpocket, ... See full summary »
Queen Elizabeth is running this show. The men in her court should be thinking about how to add to the glory of the Elizabethan Age and how to foil those pesky Spanish who got far too much ... See full summary »
William K. Howard
Cleopatra hasn't been on the throne of the pharoahs of Egypt very long when Julius Caesar pays a visit. Caesar finds the prospect of romance more tempting than he expected, since Cleopatra is a rare woman who is bright as well as beautiful. And for Cleopatra, a friendly relationship with the most powerful man in the world may pay dividends in the future. Written by
Dale O'Connor <email@example.com>
Vivien Leigh found that she was pregnant with Laurence Olivier's child during filming. There was a very energetic scene in which Leigh had to slide across the floor and run up the stairs. Upon doing this, she slipped and suffered a miscarriage. This triggered a mental breakdown in Leigh. See more »
In Caesar's first scene, he appears under a night sky full of clouds and bright stars. The clouds don't move at all and the stars shine bright through them, giving away the fact it's a painted backdrop with lights. Also, very strong shadows exist giving away the use of stage lighting. See more »
Bernard Shaw does not perhaps adapt too well to the screen, but, in my opinion, this adaptation is particularly successful and probably the best of them all, although one video edition in the UK didn't even risk mentioning Shaw's name anywhere on the box, prefering to market it as mere exotic spectacle. It is of course all that, but as with everything Shaw wrote, much, much more, and is essentially about IDEAS, (not necessarily, as has often been contended, always Shaw's own personal convictions). Vivien Leigh as Cleopatra gives yet another sublime and first-rate performance as she progresses from frightened teenager to an imperious Queen with a real understanding of power. (The scene in which she whips a hapless slave in order to experience the "thrill" of total power, strangely pre-echoes the psychology of the much misunderstood SALO). Mention too must also be made of the superb musical score by Georges Auric, and admiration expressed for the sheer audacity of producer Pascal for making such a lavish and expensive production in poverty-stricken post-war Britain. Well worth watching.
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