Queen of the guile

It was the most expensive motion picture ever made up to that time. It nearly bankrupted 20th Century Fox. Its star, Elizabeth Taylor, almost died during filming. Most critics skewered it upon its release. And yet, people continue to watch "Cleopatra" today, if for no other reason than to see what all the fuss was about. Beyond the Hollywood hubris, however, lies a picture that's virtually too big to fail at entertaining you on some level--even if it's merely in the eye candy department. Our CineVerse discussion yielded these observations:

IS IT POSSIBLE TO SEPARATE THE NOTORIETY BEHIND THIS FILM’S PRODUCTION FROM THE ACTUAL FINISHED MOVIE, OR ARE THEY INDELIBLY LINKED?

• The movie itself has merits, including an intriguing political/romantic storyline that is somewhat historically accurate, lavish production values that make it beautiful to look at—including sumptuous costumes, epic sets, and fantastic art direction—and a strong cast that includes Liz and Dick, Rex Harrison, Roddy McDowell, Hume Cronyn and Martin Landau.

• However, a big part of the appeal of this film in 1963—and today, for that matter—is to see for yourself what all the hype, bad luck, and soap opera qualities are all about. Much of the draw is watching Taylor and Burton and their electrifying on-screen chemistry; they are falling in love on the screen as the movie is being filmed, and we can see the sizzle. Another allure, especially for males, is to see Taylor scantily clad and sporting ample cleavage throughout the movie.

• A fair question to ask is, if you knew nothing about how long and expensive it was to make this movie, nor how many trials and tribulations the filmmakers and actors had to endure, how would you judge this picture? Many critics felt it excessively long, overblown, lacking character motivation and development, and suffering under the sheer weight of its spectacle. Reviewer Glenn Erickson wrote: “Joseph L. Mankiewicz spins a good story, but his direction is somewhat on the tame side, with too many static tableaus just sitting there instead of expressing much of anything.  The weakest aspect of Cleopatra is this lack of visual helmsmanship.  Too often the camera blocking is just wide masters and flat closeups.  It was the style of the times, but the flat, bright lighting of practically every scene gets to be a bit much as well.  Visual interest and depth effects seem to be handled more by color than by lighting itself; Egypt and Rome look to have been bathed in everpresent kleig lights. It's hard to find a shadow in the interiors - where's all that light coming from?”

• Here, however, it’s almost impossible to find an untainted jury, because this film’s reputation has forever preceded it. You can’t help but form opinions about what you’re watching based on all stories of disaster, expense and scandal that accompanied this movie.

HOW IS CLEOPATRA PORTRAYED AND CHARACTERIZED THROUGHOUT THE FILM?

• Predominantly negatively. As thesis writer Chamara Moore put it: “The Egyptian queen is subjugated, hyper-sexualized and overdramatized to be a fickle lecherous woman focused primarily on using men for political gain and that of her son.” We see that she attempts to have her brother assassinated, seduces Caesar for her own devices, and demands pampering and attention. She can be seen as a femme fatale leading men into danger.

• She is also depicted as voluptuous, sexually experienced, irrepressibly sensual and carnal, and fertile. The first image we see of her is her naked backside. Later, she tells Caesar: “My breasts are filled with love and life. My hips are rounded and well apart. Such women, they say, have sons.” Additionally, she uses double entendres and phallic/sexual imagery to imply her sexual power: “I’ve rubbed you the wrong way, haven’t I?” and, after the Alexandrian Library has perished, she says, “swords, javelins, or are you going to set me on fire?”

• She is suggested as the embodiment of Egypt itself, calling herself the Nile.

• Additionally, Cleopatra displays a cunning and intelligence that men at that time would have taken for granted—underestimation that she uses craftily to her advantage.

OTHER FILMS DIRECTED BY JOSEPH L. MANKIEWICZ

• Dragonwyck

• The Ghost and Mrs. Muir

• All About Eve

• Julius Caesar

• Guys and Dolls

• Suddenly Last Summer

• Sleuth