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Cleopatra (1934)

Cleopatra (1934)
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Film historian William K. Everson once observed that the secret to the success of Cecil B. DeMille's 1934 Cleopatra is that DeMille subtly reshaped the known historical events into a contemporary "gold-digger makes good" scenario. Exhibiting the same determination with which Barbara Stanwyck sleeps her way to the top in 1933's Baby Face, Queen Cleopatra (Claudette Colbert) uses her feminine wiles to become sole ruler of Egypt. By turns kittenish and cold-blooded, Cleopatra wraps such otherwise responsible Roman worthies as Julius Caesar (Warren William, who wittily plays his role like one of his standard ruthless business executives) and Marc Antony (Henry Wilcoxon) around her well-manicured little finger. To emphasize the "contemporary" nature of the film, DeMille adds little modernistic touches throughout: The architecture of Egypt and Rome has a distinctly art-deco look; a matron at a social gathering clucks "Poor Calpurnia...well, the wife is always the last to know"; and, after Caesar's funeral, Mark Anthony is chided by an associate for "all that 'Friends, Romans, Countrymen' business!" Cleopatra's barge scene and her suicide from the bite of a snake marked two of the most memorable sequences in DeMille's career. Remarkably, for all the enormous sets and elaborate costumes, Cleopatra came in at a budget of $750,000 -- almost $40 million less than the 1963 Elizabeth Taylor remake. ~ Hal Erickson, Rovi

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Starring:
Claudette ColbertWarren William, (more)
Director(s):
Cecil B. DeMille
Format(s):
DVD
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Synopsis of Cleopatra

Film historian William K. Everson once observed that the secret to the success of Cecil B. DeMille's 1934 Cleopatra is that DeMille subtly reshaped the known historical events into a contemporary "gold-digger makes good" scenario. Exhibiting the same determination with which Barbara Stanwyck sleeps her way to the top in 1933's Baby Face, Queen Cleopatra (Claudette Colbert) uses her feminine wiles to become sole ruler of Egypt. By turns kittenish and cold-blooded, Cleopatra wraps such otherwise responsible Roman worthies as Julius Caesar (Warren William, who wittily plays his role like one of his standard ruthless business executives) and Marc Antony (Henry Wilcoxon) around her well-manicured little finger. To emphasize the "contemporary" nature of the film, DeMille adds little modernistic touches throughout: The architecture of Egypt and Rome has a distinctly art-deco look; a matron at a social gathering clucks "Poor Calpurnia...well, the wife is always the last to know"; and, after Caesar's funeral, Mark Anthony is chided by an associate for "all that 'Friends, Romans, Countrymen' business!" Cleopatra's barge scene and her suicide from the bite of a snake marked two of the most memorable sequences in DeMille's career. Remarkably, for all the enormous sets and elaborate costumes, Cleopatra came in at a budget of $750,000 -- almost $40 million less than the 1963 Elizabeth Taylor remake. ~ Hal Erickson, Rovi

Theatrical Feature Running Time:
112 mins

Complete Cast of Cleopatra


Director(s):
Cecil B. DeMille
Writer(s):
Waldemar YoungVincent LawrenceBartlett Cormack
Producer(s):
Cecil B. DeMille
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    Kay S.

    I'm the total opposite of the review below. The sets and costumes were magnificent. Acting styles in the early 30s are more over the top than today but all the leads are well suited to their roles. The extras give interesting back contexts to period mores and styles. My only complaint is that my large screen TV shrunk the picture size to an awkward viewing.

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    Harry M.

    Sometimes I find it difficult to judge a classic / older film on it's own merits by judging it in the context if it's won time. This is one of those times. I found the performances to be one dimensional, if not downright bad and the script seemed as though it was thrown together in a day or two. What did stand out for me was the 'dressing'; the sets, the costumes, the photography were all top notch. But in the end I found myself looking at my watch wondering when it would end. This movie left me wanting less rather then more. I guess I should now prepare for the piles of hate mail from film critics that I will undoubtedly receive. Sorry, but I found this 'classic' to be mostly underwhelming.

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