7.4/10
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71 user 31 critic

Julius Caesar (1953)

The growing ambition of Julius Caesar is a source of major concern to his close friend Brutus. Cassius persuades him to participate in his plot to assassinate Caesar but they have both sorely underestimated Mark Antony.

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Won 1 Oscar. Another 6 wins & 7 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Marullus
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Soothsayer
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William Cottrell ...
Cinna
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Storyline

Brutus, Cassius, and other high-ranking Romans murder Caesar, because they believe his ambition will lead to tyranny. The people of Rome are on their side until Antony, Caesar's right-hand man, makes a moving speech. The conspirators are driven from Rome, and two armies are formed: one side following the conspirators; the other, Antony. Antony has the superior force, and surrounds Brutus and Cassius, but they kill themselves to avoid capture. Written by John Oswalt <jao@jao.com>

Plot Summary | Add Synopsis

Taglines:

MGM's acclaimed production of William Shakespeare's Julius Caesar.


Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

4 June 1953 (USA)  »

Also Known As:

William Shakespeare's Julius Caesar  »

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Box Office

Budget:

$2,070,000 (estimated)

Gross USA:

$2,021,000, 31 December 1953

Cumulative Worldwide Gross:

$3,920,000, 31 December 1953
See more on IMDbPro »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System) (original release)

Color:

| (tinted) (1969 UK re-release)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Richard Hale (Soothsayer), John Hoyt (Decius Brutus), Ian Wolfe (Caius Ligarius), Morgan Farley (Artemidorus), Michael Ansara (Pindarus) and Vic Perrin (Hoodlum) all later made guest appearances in Star Trek (1966): Hale in Star Trek: The Paradise Syndrome (1968), Hoyt in Star Trek: The Cage (1986), Wolfe in Star Trek: Bread and Circuses (1968) and Star Trek: All Our Yesterdays (1969), Farley in Star Trek: The Return of the Archons (1967) and Star Trek: The Omega Glory (1968), Ansara in Star Trek: Day of the Dove (1968) and Perrin in Star Trek: The Menagerie: Part II (1966), Star Trek: Arena (1967), Star Trek: The Changeling (1967) and Star Trek: Mirror, Mirror (1967). Furthermore, Lawrence Dobkin (Citizen of Rome) directed Star Trek: Charlie X (1966). See more »

Goofs

When Caesar is in the top of the stairs talking to Cassius, Brutus and others, just before he is murdered, the people behind him change between shots. See more »

Quotes

[first lines]
Flavius: Hence! home, you idle creatures get you home:/ Is this a holiday? what! know you not,/ Being mechanical, you ought not walk/ Upon a labouring day without the sign/ Of your profession? Speak, what trade art thou?
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Connections

Referenced in Saturday Night Live: Peter Boyle/Al Jarreau (1976) See more »

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User Reviews

 
An excellent film

This production stands as a shining example of how a big Hollywood studio, in this case M-G-M, can make a great Shakespeare film, cast it intelligently, and still end up with box-office names. No less than five Hollywood stars - Marlon Brando, James Mason, Deborah Kerr, Greer Garson, and Edmond O'Brien, are in this film (although two of them have barely five minutes of screen time) and the entire cast gives fine performances.

James Mason, who actually has the leading role of Brutus (despite the fact that Brando gets top billing) is excellent, giving a conscience-stricken, restrained performance--he even LOOKS the way one likes to imagine that Brutus must have looked. Marlon Brando reminds us of what a brilliant actor he once was--for an actor who deliberately stayed away from Shakespeare, his performance is remarkable--and every word he says is understandable. This film was the great John Gielgud's first chance to immortalize one of his great roles on film and to show movie audiences what made him such a renowned Shakespearean actor---his Cassius is full of envy that seems about to boil over any minute. Louis Calhern, a rather hammy villain in other films, is subtly unsympathetic, yet vulnerable as Julius Caesar. The photography is fine and completely unobtrusive---as is the music; director Mankiewicz has filmed the play without resorting to any gimmicks or cheap "Hollywoody" stunts,and the adaptation is so faithful that no one gets on screen credit for it.

Who cares about historical inaccuracies when you can see a great play as well acted as this one?


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