Antony and Cleopatra
Year:
1972
Running time:
138 mn
Nationality:
UK
Language:
English
Genre:
Adventure, Drama, Historical
Director:
Charlton Heston
Producer:
Folio Films, The Rank Organisation, Transac, Ízaro Films
Screenwriter/s:
Federico De Urrutia, Charlton Heston
Cast:
Charlton Heston, Hidegarde Neil, Eric Porter, John Castel, Fernando Rey, Juan Luís Galiardo, Carmen Sevilla, Freddie Jones, Peter Arne
Summary of the film
During a military campaign in North Africa, Mark Antony meets Cleopatra, falls in love with her and forgets his political responsibilities. In Alexandria, he received news of the banishment of his brother Lucius and the death of his wife Fulvia, who were involved in an uprising. He returns to Rome to join Lepidus and Caesar Octavian, who have declared war on Pompey. (Filmaffinity)
Hildegarde Neil and Charlton Heston in Antony and Cleopatra (Screenshot by the author)
Battle scene from the film shot in the province of Almeria (Screenshot by the author)
Egyptomania narratives or motifs
This film delves into the era of Cleopatra VII and her romantic involvement with the Roman general Mark Antony, a timeless narrative that has been consistently explored in the realms of cinema, literature, and art ever since William Shakespeare penned his renowned tragedy Antony and Cleopatra in 1606. Released in 1972, this movie was helmed by the American filmmaker Charlton Heston (1923-2008), who also took on the role of Mark Antony, opposite Cleopatra portrayed by actress Hildegarde Neil. The production spanned across locations in the UK, Switzerland, and Spain.
Charlton Heston initially approached Orson Welles to direct this project; however, Welles' decline prompted Heston to assume directorial duties himself. Heston's prior experience as an actor in Cecil B. Demille's epic The Ten Commandments (1956), where he portrayed Moses, equipped him well for such grand-scale productions. Filmed partially in Spain, this movie notably featured a predominantly Spanish cast including esteemed actress Carmen Sevilla in the role of Octavia.
It is crucial to emphasize the significant debt that this film owes to Shakespeare's narrative. Queen Cleopatra is portrayed as a femme fatale, immortalized for her role in Mark Antony's descent into madness due to his infatuation with her. The film does not depict Cleopatra as the powerful queen of Egypt; rather, her strength is only showcased when she dons a military helmet on her way to accompany Mark Antony to the battle of Actium. Throughout the movie, Antony maintains a dominant position over Cleopatra, subjecting her to public humiliation and even physical violence.
The film was produced during a period marked by a strong conservative and reactionary sentiment in the United States, influenced by the advancements of feminism at the time. The portrayal of naval battles in the movie lacks both quality and realism. Furthermore, Charlton Heston utilized leftover footage from naval scenes he had previously filmed for Ben Hur in certain shots of this film.
The movie was filmed in Almería over a period of six weeks in 1971, with production costs amounting to 50 million pesetas (Spanish currency in circulation at the time). The arid landscape of this southeastern Spanish province was frequently utilized as a backdrop for shooting western and oriental films. The Alcazaba of Almería served as one of the filming locations, with its pond being transformed to replicate Cleopatra's garden. Although not an ancient structure, the Alcazaba holds significance as a Muslim architectural marvel. Additionally, the Monsul beach, within the protected natural reserve of Cabo de Gata, was also featured in the film.
In terms of costumes, Hildegarde Neil's portrayal of Queen Cleopatra is characterized by a blend of styles, rather than strict historical accuracy or archaeological fidelity. The aim behind the film's wardrobe choices is to convey a sensual and eroticized image of Cleopatra, who was depicted in elaborate and opulent attire and headpieces. Similarly, the film sets are vibrant and imaginative, deviating from historical or artistic realism. Charlton Heston takes certain creative liberties as well, notably staging a playful scene wherein Mark Antony is dressed as a woman by Cleopatra.
The cinematographer for this film was Rafael Pacheco, a Spaniard of professional standing, who contributed his expertise to nearly forty films spanning the years 1956 to 1983. His specialization lay in westerns shot in southeastern Spain, where he was involved in productions from Spain, Mexico, Italy, and Britain.
Regrettably, the film received lukewarm reviews from both critics and viewers alike, falling short of anticipated box office success.
Charlton Heston initially approached Orson Welles to direct this project; however, Welles' decline prompted Heston to assume directorial duties himself. Heston's prior experience as an actor in Cecil B. Demille's epic The Ten Commandments (1956), where he portrayed Moses, equipped him well for such grand-scale productions. Filmed partially in Spain, this movie notably featured a predominantly Spanish cast including esteemed actress Carmen Sevilla in the role of Octavia.
It is crucial to emphasize the significant debt that this film owes to Shakespeare's narrative. Queen Cleopatra is portrayed as a femme fatale, immortalized for her role in Mark Antony's descent into madness due to his infatuation with her. The film does not depict Cleopatra as the powerful queen of Egypt; rather, her strength is only showcased when she dons a military helmet on her way to accompany Mark Antony to the battle of Actium. Throughout the movie, Antony maintains a dominant position over Cleopatra, subjecting her to public humiliation and even physical violence.
The film was produced during a period marked by a strong conservative and reactionary sentiment in the United States, influenced by the advancements of feminism at the time. The portrayal of naval battles in the movie lacks both quality and realism. Furthermore, Charlton Heston utilized leftover footage from naval scenes he had previously filmed for Ben Hur in certain shots of this film.
The movie was filmed in Almería over a period of six weeks in 1971, with production costs amounting to 50 million pesetas (Spanish currency in circulation at the time). The arid landscape of this southeastern Spanish province was frequently utilized as a backdrop for shooting western and oriental films. The Alcazaba of Almería served as one of the filming locations, with its pond being transformed to replicate Cleopatra's garden. Although not an ancient structure, the Alcazaba holds significance as a Muslim architectural marvel. Additionally, the Monsul beach, within the protected natural reserve of Cabo de Gata, was also featured in the film.
In terms of costumes, Hildegarde Neil's portrayal of Queen Cleopatra is characterized by a blend of styles, rather than strict historical accuracy or archaeological fidelity. The aim behind the film's wardrobe choices is to convey a sensual and eroticized image of Cleopatra, who was depicted in elaborate and opulent attire and headpieces. Similarly, the film sets are vibrant and imaginative, deviating from historical or artistic realism. Charlton Heston takes certain creative liberties as well, notably staging a playful scene wherein Mark Antony is dressed as a woman by Cleopatra.
The cinematographer for this film was Rafael Pacheco, a Spaniard of professional standing, who contributed his expertise to nearly forty films spanning the years 1956 to 1983. His specialization lay in westerns shot in southeastern Spain, where he was involved in productions from Spain, Mexico, Italy, and Britain.
Regrettably, the film received lukewarm reviews from both critics and viewers alike, falling short of anticipated box office success.
Author: Guillermo Juberías
Other information
Aliaga, R. and Parra J. 2013. Una de romanos y romanas: la mujer y las relaciones de género en el peplum. Revista de Historia Autónoma3: 31-33.
Open access
Duplá Ansuategui, A. 2019. Marco Antonio, un imperator venido a menos en pantalla, in B. Antela-Bernárdez and J. Vidal (eds) La guerra de la Antigüedad en el cine. Zaragoza, Libros Pórtico, pp. 134, 142.
Open access
Rafaelic, D. 2021. Ancient Egypt in Cinema, in A. Bednarski, A. Dodson, S. Ikram (eds), A History of World Egyptology: 484. Cambridge University Press: Cambridge.
Access with registration and payment.
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