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"The Set Designs of Cleopatra, Elizabeth Taylor's Classic Movie\nAD takes a look at the set design from the epic 1963 film, which has been newly remastered and rereleased in honor of its 50th anniversary\nLondon's Pinewood Studios doubled as Alexandria, Egypt, at the beginning of production on the 1963 film Cleopatra, but poor weather, much of it rain, caused the outdoor set buildings to peel and necessitated the daily replacement of the imported palm trees. Twelve million dollars later, the sets were dismantled and rebuilt at Rome's Cinecitt\u00E0 Studios. Shown here is the cinematic version of the Roman Forum.\nThe love affair between costars Richard Burton, pictured here dressed as the Roman general Mark Antony, and Elizabeth Taylor, both of whom were married to other people at the time, caused an international sensation\u2014not to mention another divorce for Taylor. The worldwide attention the romance received rivaled that of the production itself.\nArtists, artisans, and workmen numbering in the thousands were enlisted to re-imagine Cleopatra's world, complete with majestic temples, golden carved walls, and massive statues of mythological creatures. The script also called for 65 costume changes for Taylor as she aged 18 years over the course of the narrative. Costume designer Irene Sharaff received an Oscar for her creations\u2014a record 26,000 costumes were used for the entire production.\nAmong the cast changes was British actor Rex Harrison, who replaced actor Peter Finch as the Roman dictator Julius Caesar, mentor to Cleopatra. The majority of the film's props, including the pair of gilt feline statues flanking Harrison's throne, were custom made, which only helped to increase the production's soaring budget.\nClad in gold garb, Cleopatra and her son Caesarion are carried atop a gilt float by slaves as they make their way into Rome. John DeCuir Jr., who worked as an apprentice to his father, the film's production designer John DeCuir, recalled that \"no expense was spared in the filming of this scene, which is replete with racing chariots, archers, magicians, dancing girls, African dancers, and exotic animals, each performance more lavish than the last.\" Adding to the production's excess was Taylor's gold headdress; it was sold at auction in 2011 by actress Debbie Reynolds.\nCleopatra's ceremonial entrance into Rome, seen here, is considered one of the most memorable moments of the film, due in large part to DeCuir's impressive Forum sets. As Tom Mankiewicz, son of the film's director Joseph L. Mankiewicz, notes, \"My father called Johnny (DeCuir) the \u2018city planner.' He was told to build the forum three times its size, as it was thought the real Roman Forum was not impressive enough.\"\nDeCuir's re-creation of the Sphinx measured 35 feet tall and 70 feet long, and was constructed of fiberglass and plaster attached to a wood-and-steel framework. The set's arch was modeled after Rome's Arch of Constantine, located near the Colosseum.\nCleopatra's opulent chambers and barge sparked a whole new movement in fashion and design. Andy Warhol considered the film to be one of the most influential in pop culture, and 1960s hairstylist Vidal Sassoon even created a tribute hairstyle inspired by Taylor's dramatic do.\n\n The Egyptian-style goblets were just a few of the thousands of props required for the lavish scenes. Custom made of fiberglass with gold leaf and faux gemstones, the goblets are seen on the dining tables of Cleopatra's barge when the queen throws a feast for General Antony."^^<http://www.w3.org/2001/XMLSchema#string>
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