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40 out of 43 people found the following review useful:
Fox's Prince, 29 July 2009

Author: jpdoherty from Ireland

*** This review may contain spoilers ***

Produced by Sol C. Siegal for 20th Century Fox in 1949 PRINCE OF FOXES is a splendid romantic adventure story set in Renaissance Italy. Stylishly directed by Henry King on actual Italian locations it has one unforgivable drawback - its Monochrome cinematography! So for once I cannot say - for the life of me - in glorious black & white! For if ever a movie needed to be filmed in colour PRINCE OF FOXES is the prime example! One story has it that there was not adequate funds to film in colour. But the preferred excuse was when the company arrived in Italy in 1948 to begin shooting they found that there was not a colour camera to be had in the entire country. And being behind schedule already the unfortunate decision was made to film in Monochrome. But Fox Video should have made an effort in making some kind of amends for this by colorizing the movie for this DVD release, thereby preserving - to some degree - the scenes in the magnificent ornate palaces and churches of the Renaissance whose interiors were used in the picture. After all they had done an excellent job with colour on the DVD re-release of the classic "The Mark Of Zorro" (1940) a couple of years back, surely PRINCE OF FOXES was a more deserving cause! Ironically the only Acadamy Award nomination the picture garnered was for Leon Shamroy's Monochrome cinematography!

As it stands however it is still a fine movie with a cracking screenplay by Milton Krims based on the novel by Samuel Shellabarger. Tyrone Power is excellent in it and brings great depth to an already well written part. Also there's a striking performance by Orson Welles in the plum role of Cesare Borgia. The story involves a young adventurer, Andrea Orsini (Power), who is appointed as a sort of ambassador by Borgia to some kingdoms he hopes one day to acquire. When he goes to a mountain state ruled by the kindly and elderly Count Verano (Felix Alymer) and his attractive much younger wife Modonna Camilla (Wanda Hendricks) he becomes aware of a better way of life. He turns against the Borgias, is imprisoned and tortured (in a startling sequence his eyes appear to be gouged from his head). Later he is freed and leads a revolt routing the Borgias. Finally the old count dies from his battle wounds leaving Andrea and the young widow free to marry.

Despite the shameful absence of colour Shamroy's Monochrome cinematography does however lend King's well told story a certain visual style. Also an outstanding addition to the overall picture is Alfred Newman's ravishing baroque score. After the exhilarating Main Title music there is the sumptuous main theme. First heard hauntingly sung by solo male voice over the Venice canal sequence it is then fully developed in glowing orchestral form and is used to point up the growing love between Andrea and Modonna Camilla. An exquisite broad rapturous theme full of engaging warmth which positively surges with passion. It is arguably Alfred Newman's loveliest melodic inspiration! This dazzling score can be heard for its own merits isolated on the audio track.

Performances in PRINCE OF FOXES are throughout generally well played with Power and Welles being particular standouts. Excellent also is Felix Alymer and Everett Sloane but Wanda Hendricks in the female lead is terribly miscast. She doesn't suit the picture at all! One wag observed "She looks like a bobbysoxer lost in a great Cathedral". My sentiments exactly!

The DVD is of exceptional quality! With well defined imagery that is sharp and clear. Extras, besides Newman's arresting score, include a still gallery, a good trailer and a very appropriate Movitone News excerpt showing Ty Power and Linda Christian being wed in Italy which took place while he was making the movie there. NICE ONE FOX! BUT IT IS A SHAME YOU DIDN'T COLOURIZE IT!

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22 out of 24 people found the following review useful:
Everything but glorious Technicolor!, 11 June 2003
Author: Greg Couture from Portland, Oregon

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?

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20 out of 24 people found the following review useful:
One of the Most Beautiful B/W Historicals Ever Put Onto Film; Well-Acted, 26 June 2005

Author: silverscreen888

This is the only film whose producer ever rented a country. The tiny country rented to become "Citta del Monte" in Samuel Shellabarger's well-plotted "Prince of Foxes" was actually the real country of Andorra. The historical novel on which this beautifully-paced and emotionally satisfying film was made left Milton Krims, scenarist, with an unsolvable problem--which he proceeded to solve. The plot line involved Tyrone Power as ambitious young Andrea Orsini with Cesare Borgia's scheme to unite and rule Italy; Orson Welles does well as a charismatic Borgia, whose plan it is to marry his sister played by Marina Berti to the Duke of Ferrara; poison will follow, and the key to Italy will drop from the dying Duke's hand into his own grasp. But Andrea must first perform a mission involving the betraying of the strategic Citta Del Monte into Borgia's hands. His Mother, played by Katina Paxinou, is horrified when she hears what he is becoming; and during the mission, undertaken with Everett Sloane as an assassin he takes into service-- his own death having been the one planned--he decides to serve the Lord of the city, ably played by Felix Aylmer and also his daughter, with whom he if falling in love, miscast but hard-working Wanda Hendrix. The final battle is fought, and a happy ending is achieved--for all save Cesare Borgia and those whose death his schemes have wasted. This is a beautiful B/W drama, with lovely sets by Thomas Little,, Alfred Newman's fine music, Leon Shamroy's exquisite photography and period costumes by Vittorio Nino Novarese that I found unforgettable. Kudos also go to Roy D. Webb as 2nd Unit Director for the action scenes that relieve the very competent dialogue portions expertly crafted by director Henry King. This film, which could have been badly made, glows like a ruby set in the hilt of a dagger flashing back the rays of a spring sun. It is well-remembered, and a benchmark of a production against which other historical dramas are measured still.

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16 out of 20 people found the following review useful:
Welles astounds with his undeniable greatness, 3 October 2000

Author: R Worrell (rhea_worrell@prodigy.net) from Chapel Hill, NC

Once again, Welles astounds with his talent. Even though he is not listed in this film's credits as director or writer, the great Welles has left indefatigable stamp of genius on this film. His fascination and artistic absorption with great, unbridled power, moral resistance to that power and the response of the artist has once again propelled him to greatness.

His is a fascinating, swaggering, bemused, sly (as the title implies) impression of the all-powerful Borgia and his near success at corrupting the artist, Orsini. Shades of Citizen Kane and Harry Lyme..?

Naturally, there is a weaselly accomplice (Sloan), and he is terrific too. I found Tyrone Power's performance more than adequate -- for once. Production values were good, too.

But the keynote of the entire production is the masterful Welles. His portrayals are a joy to encounter, maybe because he finds the rich and powerful entertainingly evil, while the rest of us poor mortals find them too intimidating to even acknowledge.

Who cares about Welles' "troubles with Hollywood"? Skip the gossip, people, and THINK about his characters' motives and behavior. And their relevance.

(Talk is cheap. It is easy for the American Film Institute to call Citizen Kane the number one movie of all time, but which side were they on when Welles was being persecuted by his Hollywood peers? And where are they now, when talented independent filmmakers are trying to get their "dangerous" films shown -- or recognized)?

The fact is, with or without support or financing, Welles was in a class by himself. His brilliant mind, rampant creativity, sheer acting ability, courage, originality and artistic integrity have yet to be matched.

There will never never be another Welles...

Back to Prince of Foxes. This is an underrated film. See it for Welles' sake, see it for a Renaissance flash, or just see it for Everett Sloan's eyeballs...

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8 out of 8 people found the following review useful:
Sloane short changed in the role of Belli, 5 July 2002
Author: Invictus-3 (mgengland_44@yahoo.com) from Grapevine, Texas

First, allow me to say how wonderful it feels to know I am not living alone on a planet in another galaxy -- that this planet actually has people on it who share a common interest with me: The spin-off from Samuel Shellabarger's historical novels (please feel free to read my comments under "Captain from Castile").

Samuel Shellabarger wrote "Prince of Foxes" after he wrote "Captain from Castile," and was therefore a more seasoned and experienced writer whose plot and character development had improved -- hence the previous remarks about Tyrone Power's acting ability: He had more with which to work in his character of Orsini than he did in the role of Pedro de Vargas thanks to Shellabarger's improved skills as an author. Tyrone Power was always a better actor than anyone (especially 20th Century Fox) ever gave him credit for being.

Each time I view my video of "Prince of Foxes" (copied from American Movie Classics) I am, of course, enthralled and mesmerized by Orson Wells' role of Cesare Borgia. I am equally impressed with Everett Sloane as Belli. But whenever I see Sloane as Belli, I can only think of an opportunity missed and Sloane getting shafted out of a nomination for best supporting actor thanks to the screen writer, director, producer and studio high-pockets. Why? Because the character of Belli, in the book, is the most dynamic character I have ever read! His dynamism was only partially revealed in the movie. There are also characters in the book, pertinent to Belli's development and evolution, that never appeared in the movie. In both mediums, we are introduced to Belli as a hired assassin. By the end of the movie, Belli has change his allegiance three times, but in the book, we leave Belli as he has declared for the priesthood -- and this time, I think he was serious!

Everett Sloane is one of my favorite actors of all time. He was the perfect choice for the role of Belli, as much as Wells was the perfect choice for the role of Borgia. But Hollywood did it again: They missed seeing what was right in front of their eyes in Shellabarger's character of Belli.

I agree with almost everything that has been stated by previous respondents about this production. It is wonderful! I can't wait to view my video of it again! I don't think I will ever tire of it. It is truly magnificent! But I think this film should be reshot and Shellabarger's book followed religiously by the script. It would be a much better movie than even this beauty.

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15 out of 22 people found the following review useful:
this is a beautiful film, 4 February 2005

Author: jebratton from United States

This beautiful film was actually filmed in Sienna Italy in a palace which can be toured at the foot of the huge piazza and elsewhere in Italy, including Venice. That is why it seemed so authentic, because it is. I used to watch it and it added to my desire to travel to Italy and study Italian history. Finally, I did actually tour the building that was used as the interior of the palaces and I could almost see the film scene for scene as I did. It is another example of the brilliance of Orson Welles. I always watch it when it is played. Tyrone Power is beautiful and I have grown to enjoy Wanda Hendrix performance more with time as she does look a lot like some of the portraits of Italian women of the time. All of the characters look as if they stepped out of Renaissance paintings. As for Orson Welles it is a privilege to see his work and study his acting, directing and film-making.

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8 out of 9 people found the following review useful:
The King of Fox as the Prince of Foxes, 17 December 2006

Author: blanche-2 from United States

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.

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11 out of 15 people found the following review useful:
Magnificent Medieval Melodrama, 17 May 1999

Author: ecomcon-2 from New York

Just this weekend I stumbled across this lovely film on American Movie Classics (AMC)while fiddling around with the old remote. I was absolutely astounded by the realism of the sets: one felt transported to Renaissance Italy. Castles, palaces, towers were all faithfully replicated. The costumes were gorgeous. The armor and weaponry appeared accurate and deadly. Even the catapults were genuine; they did not appear to be models.

The acting was superb! You take for granted that the performances of Welles and Sloane would be excellent. But the very pleasant surprise came with Tyrone Power's portrayal of Orsini. I never considered Power more than just a pretty face (and an excellent swordsman). However, this film changed my opinion of his acting talents completely. In fact, all the supporting cast turned in satisfying performances.

This is a true gem of a film, I would love to see it on the big screen.

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7 out of 9 people found the following review useful:
Movie That Has Everything But Color, 7 May 2006
Author: gerrythree (gerrytwo@hotmail.com) from New York

From the VHS recording I made of Prince of Foxes on Cinemax 8 years ago (as I recall, part of their Summer series of movies not yet out on video), this movie looks as if it was shot in color. Those castle interior scenes are too dark and DP Leon Shamroy too accomplished a technician to film the movie in such subdued lighting. Somewhere in the Fox archives, there may be records to show if Prince of Foxes was originally intended to be a Technicolor release. The most likely reason 20th Century Fox released the movie in black and white is cost, after Zanuck decided that the potential box office of the movie did not justify the greater expense of making the release prints in Technicolor. Or, the reason could be that some of the filmed material turned out for technical shortcomings not to be able to be processed correctly for Technicolor by the film lab. The cost for retakes would have been prohibitive, since the movie was filmed on location in Italy. So, my opinion is that the studio took the cheap way out, processing a black and white negative from the Technicolor film negative, figuring the audience would not notice how the timing was way off.

If there is still a surviving Technicolor negative of this movie in the Fox film archives stored in some cave somewhere, shot in the three strip Technicolor process, there is now computer technology available to correct any defects in the original negative.

On another note, the director Henry King liked low angle shots as much, if not more, than director Michael Bay. This movie is loaded with low angle shots, sometimes to take advantage of the castle backgrounds, sometimes to show a person's bad situation, as when the bound Orsini looks up at Borgia at the dinner table. In 1949, Henry King had been a director for 30 years, and he picked up some good tricks along the way. Too bad 20th Century Fox didn't spring for a Technicolor release of Prince of Foxes.

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4 out of 5 people found the following review useful:
Excellent old costume Drama, 24 May 2006

Author: artzau from Sacramento, CA

You have to understand that Samuel Shellabarger who wrote Prince of Foxes and Captain from Castile, along with several other sabre-rattling novels of the renaissance, was a very popular writer in the 40s and this movie captures much of the romantic mood of his novels. Tyrone Power had appeared earlier in Captain from Castile which had been a hit and this effort including the great Orson Welles as Cesare Borgia, and two great character actors, Katrina Paxinou and Everett Sloane, was a fantastic production. Wanda Hendrix, who was never any great shakes beyond presenting a pretty Hollywood face, did not distract from the film but the scene chewing between Power, Sloane and, of course, Welles (before he became so obese), is classic. Power with his dark handsome Irish face was always delightful in these heroic roles tinged with darkness. Recall that this film was of the same time period as his classic Nightmare Alley. It is an entertaining yarn but, alas, no video or DVD at this writing, so you'll just have to look for it on the late show. Do so because if you like the romantic golden oldies with a bit of swash and buckle, you'll dang sure like this one.

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