Caesar and Cleopatra
The role of Caesar was originally offered to Sir John Gielgud, who turned it down, because he detested Director Gabriel Pascal.,Caesar refers to his nose as "rather long" and "a Roman nose," but the idea of a "Roman nose" was not introduced until almost 150 years later, when the Emperor Hadrian erected statues of his favorite, Antinous, throughout the Empire (where many of the people had never seen a Roman), and Antinous's long nose was taken as typical of Romans (even though Antinous was a Greek).,Julius Caesar: And so to the end of history, murder shall breed murder, always in the name of right, and justice, and peace, until the gods create a race of men that can understand.,Closing credits cast list finishes with And The Crowd.,Featured in Great Performances: Laurence Olivier: A Life (1983),When this film was recently shown on British television I recorded it on the rather naïve assumption that it would be a grand epic of Classical antiquity, something along the lines of the famously expensive Elizabeth Taylor "Cleopatra", still often cited as the costliest film ever made when values are adjusted for inflation. Of course, "Caesar and Cleopatra" is nothing of the sort; the British cinema never really had the budget to copy Hollywood in this respect although some European film-makers, especially in Italy, certainly tried to.

The film was certainly expensive by the standards of 1945; indeed, it was reported to be the most expensive film ever made in Britain at that date, costing well over a million pounds. It is not, however, a Hollywood-style epic but a cinematic adaptation of the play by George Bernard Shaw. While in the Egyptian capital city of Alexandria, Julius Caesar becomes involved in a power-struggle between Queen Cleopatra and the backers of her younger brother (and husband) Ptolemy. In real life Caesar and Cleopatra were lovers, but here their relationship is portrayed not as a romantic or a sexual one. The middle-aged Caesar is shown more as a father-figure to the youthful Cleopatra, a mentor who tutors her in the arts of politics and government. (And, given the intrigue-ridden nature of the Egyptian court, these are certainly areas where she could do with a little tuition).

Towards the end of his long life- this film was made five years before his death- Shaw was a revered figure of English literature, regarded as the nearest thing the twentieth century had produced to a Shakespeare. In more recent years this reputation has faded somewhat, partly because his plays are not always very dramatic. He can be stronger on philosophy and political theory than on action or dramatic tension, and even though his contributions to political and philosophical debates are often expressed in witty and vivid dialogue, the reader (and to an even greater extent the theatre-goer) is sometimes left with the impression that Shaw's linguistic gifts might have been better employed in penning political tracts than in writing for the stage.

Nevertheless, some of Shaw's plays have been turned into very good films, notably the 1938 "Pygmalion" with Leslie Howard and Wendy Hiller, or the 1941 "Major Barbara", also with Hiller and Robert Morley. (One could also include "My Fair Lady" in this list, but that is really second-hand Shaw, a musical based upon "Pygmalion" which owes much of its success to its songs). There have, unfortunately, also been a number of failures, such as "The Millionairess", which relied too heavily on Sophia Loren's glamour and the comic talents of Peter Sellers (which were not too much in evidence) and, although supposedly a comedy, ended up about as funny as a two-hour speech at a TUC conference.

"Caesar and Cleopatra" must also rank among the less successful Shaw adaptations. A lot of its million-pound-plus budget seems to have been spent on its lavish sets- economic and political considerations in 1945 precluded location shooting in Egypt itself- but from a modern perspective they seem like part of the problem, giving the whole production a very artificial, stagey look. It is said that the director Gabriel Pascal ordered sand from Egypt to get the colour right, but when everything else looks so artificial a gesture like that seems like an unnecessary luxury. The stagey impression is strengthened by the dialogue, both in the unnatural way it is spoken and, at times, in the way it is written. (Shaw could sometimes succumb to the delusion that if he was the twentieth-century Shakespeare it was incumbent on him to write in the style of his august predecessor, particularly when dealing with historical subjects).

The best acting performance comes from Claude Rains as Caesar. (I normally think of Rains as a supporting actor in roles like his French police chief in "Casablanca", so it was nice to see him in a leading role for once). This is not the Caesar of history, who was doubtless a lot more ruthless than he is portrayed here, but it is Caesar as Shaw wrote him, an essentially decent man whose undoubted sense of Realpolitik is tempered by his instincts towards humanity and clemency.

Vivien Leigh, however, is well below her best here. She may have been one of Britain's leading actresses of the period, but seems quite wrong for the part. She was 32 at the time, and never seems convincing as Cleopatra, whom Shaw envisaged as a kittenish teenager. A thirty-something Cleopatra would not, I am sure, have required any lessons from Caesar in statecraft.

Of the supporting cast, the best is Francis L. Sullivan as Ptolemy's wily and ambitious tutor Pothinus. The young Stewart Granger seems to have wandered in from another film, possibly one of the swashbuckling historical adventures which were later to become his stock-in-trade. Flora Robson has a thankless task as Cleopatra's nurse Ftatateeta, a character seemingly invented for the sole purpose of raising a laugh every time one of the other characters mispronounces her absurd name. Cecil Parker specialised in playing upper-middle-class English gentlemen and here he plays Caesar's slave Britannus as an upper-middle-class English gentleman transported back in time to Ancient Egypt, something which is never remotely convincing.

The film was described at the time as a "box office stinker"; evidently British audiences in the last year of the Second World War wanted something a bit more entertaining and uplifting than this wordy, overlong disquisition on the nature of political power. Some films which were "stinkers" when they first came out have gone on to become classics, but "Caesar and Cleopatra" seems to have gone in the opposite direction; today it is a little-known, rarely-seen curiosity. 5/10,