One of the first things you notice is the setting is a balance between stage and reality. This film being in black and white may have contributed to the atmosphere. The actors are not just popular names but are able to bring the characters to life. I was impressed with everyone's ability to the point that it took time to realize that Mark Antony is Marlon Brando; he among others is able to make the words real and meaningful, not just a bunch of Shakespearian phrases. If somehow you missed the play or the history, basically Julius Caesar let his status go to his head and is about to take on the role of implorer. It is up to a handful of Noble Romans to see that this does not happen. The play is about these individuals, their individual purposes and what happens to them after the attempt to stop him. The focus is on Caesar's right arm (Mark Antony).
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Editorial
Amazon.co.uk Review
An examination of the relationship between political power and personal conscience, Joseph Mankiewicz's Julius Caesar is a solidly acted spectacle presented in classical, traditional form. Julius Caesar reveals its characters to be divided, complex, and contradictory--and therefore all the more human. The acting here is a veritable masterclass for aspiring thesps. As the opportunistic Marc Antony, Marlon Brando delivers the famous funeral speech with pure conviction, elsewhere casting an intense physicality that recalls his work as Stan in A Streetcar Named Desire. James Mason suggests a latent Hamlet in his turn as the honourable Brutus, while John Gielgud is positively serpentine as the lean, hungry Cassius. Louis Calhern invests Caesar with intelligence and edgy noir echoes carried over from his performance in The Asphalt Jungle (1950). Director Mankiewicz astutely balances the Renaissance view of Caesar as a power-obsessed, corrupt tyrant destined for punishment with modern suggestions that his murder may have been ill-advised. With its dark alleyways and complex hues of grey, this Julius Caesar at times owes more to Double Indemnity than Laurence Olivier. The director's scrupulous, pellucid pacing---supported in no small measure by Miklos Rozsa's stunning score--is the perfect complement for the screenplay's sophisticated, frieze-like structure. At film's end, power itself is without a master, and the spirit of Caesar has been left unrevived: and to Mankiewicz's credit, the latter is revealed to be the true tragedy of Julius Caesar.--Kevin Mulhall
The spirit of the play brought to life
Review date: 2005-04-13 Rating: 10 out of 10
I have been raised on this play and saw many versions. I have had the real story pointed out to me and meaning behind many of the words explained. However it is this adaptation that brought it to life not just intellectually but emotionally.
Mason - did he ever make a bad movie? - is excellent, and the movie is his.