Cleopatra (1934)

Director:

Cecil B. DeMille

Writers:

Bartlett Cormack (adaptation)
Waldemar Young (screenplay) ...

Release Date:

5 October 1934 (USA)

Genre:

Drama | History | Romance | War

Tagline:

History's most seductive woman! The screen's mightiest spectacle!

Plot:

The man-hungry Queen of Egypt leads Julius Caesar and Marc Antony astray, amid scenes of DeMillean splendor.

Plot Keywords:

Kidnapping | Male Female Relationship | Femme Fatale | Ancient Rome | Spectacle

Awards:

Won Oscar. Another 4 nominations

Cast

Claudette Colbert	...	Cleopatra
Warren William	...	Julius Caesar
Henry Wilcoxon	...	Marc Antony
Joseph Schildkraut	...	King Herod
Ian Keith	...	Octavian
Gertrude Michael	...	Calpurnia
C. Aubrey Smith	...	Enobarbus
Irving Pichel	...	Apollodorus
Arthur Hohl	...	Brutus
Edwin Maxwell	...	Casca
Ian Maclaren	...	Cassius (as Ian MacLaren)
Eleanor Phelps	...	Charmion
Leonard Mudie	...	Pothinos
Grace Durkin	...	Iras
Ferdinand Gottschalk	...	Glabrio (scenes deleted)

Runtime:

100 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Noiseless Recording)

Certification:

USA:Approved (PCA #80)

Filming Locations:

El Segundo, California, USA

Company:

Paramount Pictures

Trivia:

Daily Variety reported that the film was badly panned by Italian critics, one of whom called it a "travesty and a burlesque," when shown in Rome. It also was met with "catcalls and derisive laughter" from the audience.

Goofs:

Miscellaneous: During the romantic barge scene, where Antony first makes love to Cleopatra, as the camera pulls further back, we see slaves in the galley pulling at the oars. When the barge is shown from the outside, no oars are visible, and the barge seems to be traveling under its own power.

Quotes:

Octavia: [about Calpurnia not knowing that Caesar and Cleopatra are involved] The wife is always the last to know.

Movie Connections:

Referenced in Get a Life (2006) (V)

The best version for those who love kitsch...

Was Demille more daring than any other director or was he just clueless? What does one say when the curtains close on Antony and Cleopatra and suddenly the screen erupts with more sexual symbols than any moment in Hollywood's history? From the phallic symbols (oars) to the yonic symbols (curtains) until finally both orgasmically mesh together in a final combination (a drummer with his drum), the scene tells us we're viewing the artistry of a kinky genius or a shameless carney.

And along with the jawdropping visuals, the film is crammed with juicy Demille-like dialog. Unlike other Demille films, this one has a wonderful cast to deliver his unique oneliners, and there are so many. My own favorites are the moments of dumbdowned Shakespeare. Instead of speaking of Cleopatra's "infinite variety" we are told she is always "many colored" and, of course, instead of "Et tu, Brute?" we get, "You? You too, Brutus?" What can you say about a movie in which Julius Ceasar says "Nope" to his senators? Nothing. One can only savor every delicious moment of camp that only a Demille could serve up.

The Taylor/Burton version is more spectacular, more intelligent, and more historical, but for those who relish kitsch--and this story always lends itself to it--this version is the best.