It's difficult to take this movie seriously, indeed if nothing else it will make you smile it's so campy. Cheap painted scenery, the same waves in all the sea scenes (notice the painted ships don't move), moronic character motivations, and I could go on. Its definitely history on the cheap as only William Castle could imagine it. Don't expect any resemblance to facts other than on the barest surface and even then it's a stretch. But it is FUN. Everyone acts like a 30s Chicago gangster except they wear Roman armor and togas. Rhonda Fleming is absolutely delightful in her over-the-top portrayal of the legendary queen, her form deliciously outlined in all her costumes. She is perfect in this role, the queen of camp playing the queen of the Nile. Raymond Burr's portrayal of Anthony makes you wonder how such a dope could have risen to such a height of power. As for William Lundigan, well he switched allegiances effortlessly, from Caesar to Brutus to Anthony to Cleopatra back to Anthony to Octavius and then I lost track. As for the plot don't expect to make much sense of it. So be warned and beware that you might not be able to take your eyes off this train wreck of a film.
22 Reviews
The Loves of Cleopatra
richardchatten16 April 2020
Now I know my medication is making me hallucinate!!
I'd swear I just saw a Technicolor movie with William Castle's name on it as director that begins with Raymond Burr as Mark Antony declaiming Shakespeare, Rhonda Fleming in the title role wearing green eye shadow and Jean Louis, and Julie Newmar dancing in nothing but a bikini and gold paint!
I'd swear I just saw a Technicolor movie with William Castle's name on it as director that begins with Raymond Burr as Mark Antony declaiming Shakespeare, Rhonda Fleming in the title role wearing green eye shadow and Jean Louis, and Julie Newmar dancing in nothing but a bikini and gold paint!
Rhonda, easy on the eye shadow!
kellyadmirer20 October 2009
I wasn't expecting much from this cheapie version of the well-known Anthony and Cleopatra tale, but it is interesting for several different reasons. I wouldn't go out of my way to see it, but if you in the mood, this will pass your time.
First, this is an extremely low budget effort. That actually is a plus to me, because the high budget versions tend to lose focus, replacing wit with artifice. The characters wear the standard Roman army Halloween costumes, and everybody who isn't going to be around for a while is played by someone you almost certainly won't recognize. The painted backdrops are a hoot. Raymond Burr, who really hadn't made his name yet, manages to impress as a drunken, weak-willed Antony, while Rhonda Fleming as Cleopatra is stunning and manages to toss in a goblet-throwing temper tantrum here and there.
Second, the camp value of this version is way out there. Fleming plays Cleopatra as a scheming tart with totally unrealistic expectations for her lovers who entertains them with whip-wielding women dressed as Roman soldiers. William Lundigan plays her surprise love interest, Antony's associate who apparently had an affair with her years before as one of Caesar's guards. He grimaces through the film, looking for all the world as if he's looking for a horse to ride off into a Gene Autry film. Nobody looks particularly Egyptian, and Burr sounds more like Perry Mason than a Roman General. It's never really made clear why he went to Egypt in the first place, except that he "likes to have Cleopatra around" while Octavian takes over where the real action is, back in, um, Rome. Michael Ansara is around as Cleopatra's somewhat bumbling heavy to add to the low-rent feel.
Third, if the story interests you, it's refreshing to see a different take on it without all the overblown pageantry and histrionics that mar pretty much all the other versions. They were just people like everyone else, and this flick's perverse achievement is that it indeed makes everyone look pretty ordinary.
As I said, don't go out of your way to see this one. It's bad history done, well, badly. But Fleming is attractive and wears her tight, provocative low-cut '50's numbers well, and the romantic triangle allows her to emote all over the bare-bones scenery. See it only if that would amuse you.
First, this is an extremely low budget effort. That actually is a plus to me, because the high budget versions tend to lose focus, replacing wit with artifice. The characters wear the standard Roman army Halloween costumes, and everybody who isn't going to be around for a while is played by someone you almost certainly won't recognize. The painted backdrops are a hoot. Raymond Burr, who really hadn't made his name yet, manages to impress as a drunken, weak-willed Antony, while Rhonda Fleming as Cleopatra is stunning and manages to toss in a goblet-throwing temper tantrum here and there.
Second, the camp value of this version is way out there. Fleming plays Cleopatra as a scheming tart with totally unrealistic expectations for her lovers who entertains them with whip-wielding women dressed as Roman soldiers. William Lundigan plays her surprise love interest, Antony's associate who apparently had an affair with her years before as one of Caesar's guards. He grimaces through the film, looking for all the world as if he's looking for a horse to ride off into a Gene Autry film. Nobody looks particularly Egyptian, and Burr sounds more like Perry Mason than a Roman General. It's never really made clear why he went to Egypt in the first place, except that he "likes to have Cleopatra around" while Octavian takes over where the real action is, back in, um, Rome. Michael Ansara is around as Cleopatra's somewhat bumbling heavy to add to the low-rent feel.
Third, if the story interests you, it's refreshing to see a different take on it without all the overblown pageantry and histrionics that mar pretty much all the other versions. They were just people like everyone else, and this flick's perverse achievement is that it indeed makes everyone look pretty ordinary.
As I said, don't go out of your way to see this one. It's bad history done, well, badly. But Fleming is attractive and wears her tight, provocative low-cut '50's numbers well, and the romantic triangle allows her to emote all over the bare-bones scenery. See it only if that would amuse you.
A hockey and extravagant retelling of the infamous Queen who becomes infatuated with Marc Anthony
ma-cortes11 October 2020
Low budget trashy version of the famous Queen of Egypt and Roman lovers, as her lust for Marc Anthony after Caesar's death . Set 44 BC later Julius Caesar's murder by Brutus and Casius , governing the second triumvirate formed by Lepido who runs Africa, Octavius Augustus ruling over Hispania and Marc Anthony over Egypt and Orient. Then the Egyptian Queen Cleopatra : Rhonda Fleming , wants to rule Egypt by defeating her brother Ptolomeo and sister Arsinoe but she needs the power of Rome to make things happen , as well as continue the sucession on her child Cesarion, the out-of-wedlock son of Cleopatra and Caesar . When Caesar's possible successor Marc Anthony : Raymond Burr , comes to Egypt along with his army commandant and one of the highest ranking Roman general called Licinius : William Lundigan, she seduces the conqueror but also his general in order to gain the kingdom again , but things do not turn out as well. As there starts a tragic love story with fateful consequences .
This known history about the famous Queen , the popular Egypt temptress's who pins her hopes on rash Marc Anthony results to be an extravaganza in short budget financed by producer Sam Katzsman , an expert in making quickies. It is a multi-colored sleeping tablet with historical characters giving plain and simple recreation . It contains abundant matte painting , carton/stone settings , well-staged battles, some opulent grotesque interiors and a few actors hopelessly wooden. Passable trio starring : Raymond Bur, William Lundigan and Rhonda Fleming who also performed another historic role : Semiramis. They are accompanied by an acceptable support cast such as : Michael Andara as captain Florus, Michael Fox as Octavius Augustus and Julie Newmar as the gilged girl carrying out some erotic dances. This underdone epic was regular but professionally directed by William Castle.
Others films concerning this historic figure Cleopatra are as follows : Silent version starred by Theda Bara. Cleopatra 1934 by Cecil B. DeMille with Claudette Colbert, Henry Wilconson, Warren William, C Aubrey Smith. Two nights with Cleopatra 1954 by Mario Mattioli with Sofia Loren, Alberto Sordi, Paul Muller. Cleopatra's legion 1959 by Vittorio Cottafavi with Linda Cristal, Ettore Manni, Georges Marchal, Conrado San Martin. A Queen for Caesar 1962 by Piero Pierotti with Pascale Petit, George Ardisson, Akin Tamiroff, Gordon Scott, Corrado Pani .Cleopatra 1963 by Joseph L Mankiewicz with Elizabeth Taylor, Richard Burton, Rex Harrison, Martin Landau, Roddy McDowall, Hume Cronyn, Andrew Keir. Cleopatra miniseries 1999 by Franc Roddan with Leonor Varela, Timothy Dalton, Billy Zane, Rupert Graves.
This known history about the famous Queen , the popular Egypt temptress's who pins her hopes on rash Marc Anthony results to be an extravaganza in short budget financed by producer Sam Katzsman , an expert in making quickies. It is a multi-colored sleeping tablet with historical characters giving plain and simple recreation . It contains abundant matte painting , carton/stone settings , well-staged battles, some opulent grotesque interiors and a few actors hopelessly wooden. Passable trio starring : Raymond Bur, William Lundigan and Rhonda Fleming who also performed another historic role : Semiramis. They are accompanied by an acceptable support cast such as : Michael Andara as captain Florus, Michael Fox as Octavius Augustus and Julie Newmar as the gilged girl carrying out some erotic dances. This underdone epic was regular but professionally directed by William Castle.
Others films concerning this historic figure Cleopatra are as follows : Silent version starred by Theda Bara. Cleopatra 1934 by Cecil B. DeMille with Claudette Colbert, Henry Wilconson, Warren William, C Aubrey Smith. Two nights with Cleopatra 1954 by Mario Mattioli with Sofia Loren, Alberto Sordi, Paul Muller. Cleopatra's legion 1959 by Vittorio Cottafavi with Linda Cristal, Ettore Manni, Georges Marchal, Conrado San Martin. A Queen for Caesar 1962 by Piero Pierotti with Pascale Petit, George Ardisson, Akin Tamiroff, Gordon Scott, Corrado Pani .Cleopatra 1963 by Joseph L Mankiewicz with Elizabeth Taylor, Richard Burton, Rex Harrison, Martin Landau, Roddy McDowall, Hume Cronyn, Andrew Keir. Cleopatra miniseries 1999 by Franc Roddan with Leonor Varela, Timothy Dalton, Billy Zane, Rupert Graves.
An Insult to Trees
JamesHitchcock15 October 2021
Warning: Spoilers
The fifties and early sixties were the golden age of the Biblical and Classical epic. This period produced what I have always regarded as the three classics of the genre, De Mille's "The Ten Commandments", Wyler's "Ben-Hur" and Kubrick's "Spartacus", as well as other fine examples such as "Quo Vadis?" Not all epics, however, were of this quality. There were also mediocre third-raters like "Samson and Delilah" or "Esther and the King", as well as Paul Newman's debut film, the dreadful fourth-rater "The Silver Chalice", which up to now I have always regarded as the worst epic ever made.
That was until I saw "Serpent of the Nile", although this film was made on such a small budget that it hardly qualifies as an epic at all, even though it deals with a subject taken from Classical antiquity. That subject is the story of Antony and Cleopatra, although anyone expecting something like Mankiewicz's vast "Cleopatra" from 1963 is likely to be disappointed. Most writers and film-makers who have dealt with this subject have treated it as one of the world's great love stories, including Shakespeare and John Dryden in his play "All for Love". The main character of this film, however, is neither of the two lovers but the fictitious Roman soldier Lucilius, who starts off as a partisan of Cassius and Brutus, then becomes a supporter of Antony, and finally switches his loyalties to Octavius.
Neither Antony nor Cleopatra, in fact, emerges as an attractive figure. Cleopatra is depicted here as an evil, scheming seductress who uses her beauty to ensnare men and to further her selfish ambition to become Empress of Rome. Antony, as played by Raymond Burr, is so infatuated with Cleopatra that he does not realise how evil and power-hungry she is. (It doesn't help that he is drunk most of the time). The plot is essentially a love-triangle; Antony is in love with Cleopatra, but she secretly despises him; her suicide by snakebite is motivated by rage at the frustration of her ambitions, not grief at the death of Antony. She is really in love with the handsome Lucilius, but he realises her true nature and wants nothing to do with her.
The standards of acting are generally poor. The worst is the stolid, stony-faced William Lundigan as Lucilius; this was the first film I had ever seen him in, and if his performance here is a true reflection of the level of his talents it will hopefully the last. To call him wooden would be an insult to trees. As Lucilius is supposed to be the hero, Lundigan's weakness affects the whole film. Rhonda Fleming, known as the "Queen of Technicolor", was not perhaps the ideal actress to play Cleopatra, as she was forced to hide her trademark flowing red locks beneath a black wig. She appeared in some very good films such as "Spellbound", "The Spiral Staircase" and "Gunfight at the OK Corral", but here she makes little impression. Burr is technically rather better, but his besotted drunkard is a one-dimensional and not very interesting interpretation of the role of Antony. I preferred Richard Burton in the 1963 film, but even better was Charlton Heston in his 1972 version of Shakespeare's play, portraying Antony not just as a lover but also as a statesman and man of action.
The film's weaknesses are not confined to the acting. As I stated, the film had a very low budget, and re-used the sets used in another recent epic, the Rita Hayworth vehicle "Salome". That film, of course, was not set in Egypt, so when some authentically Egyptian colour was called for, a painted backdrop of a pyramid was used. A similar technique was used for much of the scenery, such as a scene showing ships on the sea, and the paintings are so poor that the results are invariably unconvincing. The plot is generally tedious and uninteresting. If "The Silver Chalice" is fourth-rate, "Serpent of the Nile" is fifth-rate. 3/10
Some goofs. When Julie Newmar performs a dance supposedly clad only in gold paint, she is obviously also wearing a 1950s style bikini. Cleopatra is portrayed as putting on a show of wealth and abundance in order to conceal the fact that Egypt is an impoverished country whose people are starving. In reality Egypt was the agricultural superpower of the ancient world, able not only to feed its own people but also to export surplus grain abroad, especially to Rome. The name of Cleopatra's sister Arsinoe, who plays a role in the film, should be pronounced as four syllables, not three. And Arsinoe was killed on the steps of the temple of Artemis in Ephesus, not as shown here outside a castle in the desert.
That was until I saw "Serpent of the Nile", although this film was made on such a small budget that it hardly qualifies as an epic at all, even though it deals with a subject taken from Classical antiquity. That subject is the story of Antony and Cleopatra, although anyone expecting something like Mankiewicz's vast "Cleopatra" from 1963 is likely to be disappointed. Most writers and film-makers who have dealt with this subject have treated it as one of the world's great love stories, including Shakespeare and John Dryden in his play "All for Love". The main character of this film, however, is neither of the two lovers but the fictitious Roman soldier Lucilius, who starts off as a partisan of Cassius and Brutus, then becomes a supporter of Antony, and finally switches his loyalties to Octavius.
Neither Antony nor Cleopatra, in fact, emerges as an attractive figure. Cleopatra is depicted here as an evil, scheming seductress who uses her beauty to ensnare men and to further her selfish ambition to become Empress of Rome. Antony, as played by Raymond Burr, is so infatuated with Cleopatra that he does not realise how evil and power-hungry she is. (It doesn't help that he is drunk most of the time). The plot is essentially a love-triangle; Antony is in love with Cleopatra, but she secretly despises him; her suicide by snakebite is motivated by rage at the frustration of her ambitions, not grief at the death of Antony. She is really in love with the handsome Lucilius, but he realises her true nature and wants nothing to do with her.
The standards of acting are generally poor. The worst is the stolid, stony-faced William Lundigan as Lucilius; this was the first film I had ever seen him in, and if his performance here is a true reflection of the level of his talents it will hopefully the last. To call him wooden would be an insult to trees. As Lucilius is supposed to be the hero, Lundigan's weakness affects the whole film. Rhonda Fleming, known as the "Queen of Technicolor", was not perhaps the ideal actress to play Cleopatra, as she was forced to hide her trademark flowing red locks beneath a black wig. She appeared in some very good films such as "Spellbound", "The Spiral Staircase" and "Gunfight at the OK Corral", but here she makes little impression. Burr is technically rather better, but his besotted drunkard is a one-dimensional and not very interesting interpretation of the role of Antony. I preferred Richard Burton in the 1963 film, but even better was Charlton Heston in his 1972 version of Shakespeare's play, portraying Antony not just as a lover but also as a statesman and man of action.
The film's weaknesses are not confined to the acting. As I stated, the film had a very low budget, and re-used the sets used in another recent epic, the Rita Hayworth vehicle "Salome". That film, of course, was not set in Egypt, so when some authentically Egyptian colour was called for, a painted backdrop of a pyramid was used. A similar technique was used for much of the scenery, such as a scene showing ships on the sea, and the paintings are so poor that the results are invariably unconvincing. The plot is generally tedious and uninteresting. If "The Silver Chalice" is fourth-rate, "Serpent of the Nile" is fifth-rate. 3/10
Some goofs. When Julie Newmar performs a dance supposedly clad only in gold paint, she is obviously also wearing a 1950s style bikini. Cleopatra is portrayed as putting on a show of wealth and abundance in order to conceal the fact that Egypt is an impoverished country whose people are starving. In reality Egypt was the agricultural superpower of the ancient world, able not only to feed its own people but also to export surplus grain abroad, especially to Rome. The name of Cleopatra's sister Arsinoe, who plays a role in the film, should be pronounced as four syllables, not three. And Arsinoe was killed on the steps of the temple of Artemis in Ephesus, not as shown here outside a castle in the desert.
Serpent Of The Nile – The Loves Of Cleopatra (William Castle, 1953) **
Bunuel197620 April 2011
Before he found his niche directing Horror films, Castle tried his hand at all kinds of genres: these included Noirs, Westerns and, most surprisingly, Epics; for the record, I should be catching up with some of his efforts in this vein throughout the Easter period. Made for cheapie producer Sam Katzman, this looks amazingly handsome under the circumstances (for which sets and costumes from Columbia's concurrent "A" spectacle, SALOME', were recycled!) – though the film's modest pedigree is evident in the way battle scenes are depicted via montages, while a general disregard for authentic detail exposes its sheer commercial nature (notably the over-lit Roman tents).
The narrative obviously deals with familiar events and historical figures: indeed, it begins with the aftermath of Julius Caesar's assassination. With this in mind, the script works its way around the fact that Cleopatra alternated between romances with Caesar and Mark Antony by having Brutus' fictional lieutenant (who, following the latter's suicide, manages to win Antony's confidence!) replacing Caesar! Curiously enough, the story thus far would be presented again during that same year in the adaptation of Shakespeare's play about the Roman leader/dictator! Anyway, while Rhonda Fleming is tolerable as the Egyptian Queen (though trading her usual redhead look for a long dark wig!), the film nearly collapses under the weight of central miscasting with respect to her two co-stars: would you believe Raymond Burr (appropriately brooding though he may be) as Mark Antony?!; William Lundigan, then, makes for an utterly wooden Roman officer – who, being the more handsome, is predictably (but unhistorically) favored by Cleopatra (even from the time he served under Caesar himself!), yet is almost instantly given the cold shoulder by him for what she has done to Antony i.e. causing his falling-out with Augustus Caesar!
I have watched a number of films revolving around these characters (yet another followed this viewing) but, of course, Castle's entry would not pass muster (crucially, perhaps, it did not prove quite as enjoyably bad as I had been led to believe!) alongside the two most renowned renditions: Cecil B. De Mille's impressive 1934 version – from which this actually 'recreates' the early barge sequence – and the notorious, but undeniably worthwhile, 1963 mega-budgeted fiasco.
The narrative obviously deals with familiar events and historical figures: indeed, it begins with the aftermath of Julius Caesar's assassination. With this in mind, the script works its way around the fact that Cleopatra alternated between romances with Caesar and Mark Antony by having Brutus' fictional lieutenant (who, following the latter's suicide, manages to win Antony's confidence!) replacing Caesar! Curiously enough, the story thus far would be presented again during that same year in the adaptation of Shakespeare's play about the Roman leader/dictator! Anyway, while Rhonda Fleming is tolerable as the Egyptian Queen (though trading her usual redhead look for a long dark wig!), the film nearly collapses under the weight of central miscasting with respect to her two co-stars: would you believe Raymond Burr (appropriately brooding though he may be) as Mark Antony?!; William Lundigan, then, makes for an utterly wooden Roman officer – who, being the more handsome, is predictably (but unhistorically) favored by Cleopatra (even from the time he served under Caesar himself!), yet is almost instantly given the cold shoulder by him for what she has done to Antony i.e. causing his falling-out with Augustus Caesar!
I have watched a number of films revolving around these characters (yet another followed this viewing) but, of course, Castle's entry would not pass muster (crucially, perhaps, it did not prove quite as enjoyably bad as I had been led to believe!) alongside the two most renowned renditions: Cecil B. De Mille's impressive 1934 version – from which this actually 'recreates' the early barge sequence – and the notorious, but undeniably worthwhile, 1963 mega-budgeted fiasco.
Seldom seen low budget version is in some ways better than the mammoth Taylor-Burton opus.
ccmiller149221 May 2002
In this modestly budgeted and seldom seen version of the story, Rhonda Fleming stands out as the most luscious incarnation of the notorious title queen to date, with the possible exception of Linda Cristal. The film's glorious color makes up for its less than lavish sets, and the brisk pace of the action is a refreshing contrast to the longer, lumbering version. Lundigan makes a handsome if unwilling Roman lover, Burr is an adequate Antony, but Fox is a laughable Octavius who acts more like he came from Rome, N.Y. (Too bad Roddy McDowall wasn't cast in this one.) Altogether an entertaining entry in the Cleopatra sagas.
The real serpent
dbdumonteil1 August 2015
This is really a poor man's "Cleopatra" but there are lessons in politics in it: The imaginary Lucilius character shows that opportunism does pay:changing sides every ten minutes leads him to a glorious happy end,brother in arms with Octavius, whereas Cleopatra and Mark Antony commit suicide (which anyone past infancy already knew).
If terrorism does not pay (the murder attempt) ,at least we learn that Cleopatra's people are starving ,and that gives Lucilius a good reason to rebel against this tyranny (and to ease his conscience)for very little:he knows (and so do we) that in Rome,everyone lives in the lap of luxury!
In fact,Mark Antony nursed a viper in his bosom ,and it was not the queen of Egypt.
If terrorism does not pay (the murder attempt) ,at least we learn that Cleopatra's people are starving ,and that gives Lucilius a good reason to rebel against this tyranny (and to ease his conscience)for very little:he knows (and so do we) that in Rome,everyone lives in the lap of luxury!
In fact,Mark Antony nursed a viper in his bosom ,and it was not the queen of Egypt.
I really love
savethemonorail1327 February 2013
I really love old sword and sandal movies but really, it is beyond comprehension how any viewer (even in 1954) would not find this film laughable. True, Cleo's costumes were stunning and the Technicolor was dazzling, but that's about where my constructive criticism ends.Did the early Romans invent hair gel? Check out Lucillius's 1950's hairstyle! The fight scenes are truly risible highlighted by at least three Egyptians carefully eying up the padding below to break their fall after having been shot with arrows. The great sea battle of Actium was overlooked because the special effects department had only one model of a sea galley.Please watch this movie if you have the chance - the pleasures it brings will delight you!
Beyond the obvious problems, really not bad, well written
HEFILM8 June 2014
The thing is this movie overcomes it's problems and is a worthwhile version of this story. It gets off on a bad foot right away with a bad action scene, not just cheap, it's bad. All but one scene of historical battling are really poorly staged. If you can only afford to have ten guys fighting you'd hope that at least the fighting would be good but no. These scenes are at times inept and Castle, though cheap by choice and or by circumstance was rarely an inept director. But the script knows to keep these scenes to a minimum and Burr and Fleming are frankly pretty good, especially Burr who quickly makes you forget his Perry Mason persona. There is a fun and campy girl painted gold dance scene which also features gals dressed as Roman's with whips. This is probably the high low light of the film and you don't see it coming. After this scene the movie constantly becomes better. I stopped hoping for a campy disaster of a film and found an actual film here, hampered by the afore mentioned lapses.
This is a different take on this story. The movie begins with Caesar dead on the floor and the story then focuses on Celopatra's political reason for pretending to love men and Anthony's friend trying to stop him from throwing it all away. Anthony is called a man who knows only war and pleasure and he's just tired enough of war to let pleasure overcome him. And all this is handled well by the writing and the performances. Admitting that Lundigen is miscast and doesn't look Roman, you get over this as he and Burr's chemistry as friends and rivals works well.
Besides, there is a scene with guys wrestling a real Bear, not a guy in a suit!! And there is one mostly good action scene involving some daringly placed cameras under the hooves of charging horses and chariots. You get used to the cheap sets and bad matte paintings and get over the usually poor action scenes as the story and characters hold together and gain interest. And there are a lot of costumes for a cheap film.
The stock music score is well put together and it all ends with a rather nice slow dissolve. Castle proves that if he can't be embraced totally he cannot be shunned or dismissed either. Credit to a good script and lead performances and to Wild Bill Castle for keeping it moving and colorful--something he always did.
This is a different take on this story. The movie begins with Caesar dead on the floor and the story then focuses on Celopatra's political reason for pretending to love men and Anthony's friend trying to stop him from throwing it all away. Anthony is called a man who knows only war and pleasure and he's just tired enough of war to let pleasure overcome him. And all this is handled well by the writing and the performances. Admitting that Lundigen is miscast and doesn't look Roman, you get over this as he and Burr's chemistry as friends and rivals works well.
Besides, there is a scene with guys wrestling a real Bear, not a guy in a suit!! And there is one mostly good action scene involving some daringly placed cameras under the hooves of charging horses and chariots. You get used to the cheap sets and bad matte paintings and get over the usually poor action scenes as the story and characters hold together and gain interest. And there are a lot of costumes for a cheap film.
The stock music score is well put together and it all ends with a rather nice slow dissolve. Castle proves that if he can't be embraced totally he cannot be shunned or dismissed either. Credit to a good script and lead performances and to Wild Bill Castle for keeping it moving and colorful--something he always did.
A "Poor Man's" Version of "Cleopatra" !
wgie22 October 2009
Warning: Spoilers
Director William Castle, a "Poor Man's" Alfred Hitchcock, uses every trick in the book in an effort to make this film work from a woman dancer painted in gold (pre- "Goldfinger) to a man wrestling a bear ala the Samson vs the lion in "Samson and Delilah" ... but nothing can save this clunker. Rhonda Fleming, a "Poor Man's Cleopatra" appears lost against the likes of previous portrayals provided by the likes of Elizabeth Taylor, Vivian Leigh, and Claudette Colbert. Making matters worse, she changed the color of her hair for this film. The result is about as successful as when Lana Turner traded her blonde mane to become a brunette in "Betrayed". Bad move ... then again Cleopatra didn't have red hair ... so maybe Fleming shouldn't have made this movie at all. Raymond Burr's "Poor Man's" portrayal of Marc Anthony falls flat when compared to the likes of the work of Marlon Brando ("Julius Caesar") Richard Burton ("Cleopatra"), Claude Rains ("Ceasar and Cleopatra"). It's no wonder after a history of playing heavies in many 1950's mediocre films that he finally escaped to the sanctuary of television, and found a much needed success in either a courtroom ("Perry Mason") or a wheelchair ("Ironside"). One can't really blame the sets or the beautiful Technicolor, but the story line and the script were downright outrageous. Cleopatra (Rhonda Fleming) in this film plays the "heavy" and is using Marc Anthony (Raymond Burr) in an effort to defeat Rome. Lucilius (William Lundigan), a former confidant of Brutus, becomes friends with Marc Anthony and tries to save him from "himself" and the wicked Queen. In the meantime, Cleopatra, falls for Lucilius but is not able to win him over to her side. Is there anyone out there who wants to buy a bridge out there in the Brooklyn area? The lines in the script are so bad that the actors almost pinch their noses while reciting them! Try some of these on for size; Marc Anthony (to a slave); "Tell your Queen I'll be there ... and tell her it will take more wine than all of Egypt to make Anthony drunk with words!" Lucilius (to Anthony); "I've heard if a man needs Cleopatra, he doesn't need wine." Or how about this one after Cleopatra has failed in an attempt to have Luciluus assassinated the previous night; Cleopatra (to Lucilius); "Perhaps your heart Lucilius is more fickle." Lucilius (to Cleopatra); "After what happened last night I'm lucky my heart still beats at all." It's no wonder William Lundigan wound up selling Westinghouse refrigerators on television commercials after films like this. In conclusion, this may have been "ok" Saturday matinée movie fare but just as the old style "Classic" type comic books it should not be used as a point of reference in a high school history lesson.
A wonderful experience if......
ablbodyed-215 August 2023
Warning: Spoilers
You enjoy a film full of unintended laughs. This one has so many that they are legion (yes pun intended). Let's start with the main cast. Rhonda was absolutely terrible, there can be no other description of her performance. She has the range of, well, no range at all. William Lundigan has all the sex appeal of mashed potatoes, without the gravy. And Gaymond Burr, must have dreaded those kissing scenes. Actually there was an undercurrent between WL and GB near the end, but perhaps I'm viewing it with after-knowledge. And they had a middle-aged actor playing Octavius who was only about 20 at the time. The choreography was absolutely breath-takingly awful. I laughed until I almost cried: especially Julie Newmayer's {sic} golden performance. And the man in the bear suit was also pretty unconvincing.
The sets, of course, were co-opted from another film, and were quite beautiful. There was a scene where WL is fighting a pre-Cochise Michael Ansara where they were in steps and the was was painted pale lavender and unblemished, but later, for no reason, the wall is scraped and chipped with many white spots. MA was actually in a Perry Mason: do you think they has several good laughs remembering? Rhonda's costumes were quite nice: thanks Jean Louis. To those giving it such low ratings, lighten-up it was truly entertaining. My rating is of course way to high if I'm being serious, but I stick with it.
The sets, of course, were co-opted from another film, and were quite beautiful. There was a scene where WL is fighting a pre-Cochise Michael Ansara where they were in steps and the was was painted pale lavender and unblemished, but later, for no reason, the wall is scraped and chipped with many white spots. MA was actually in a Perry Mason: do you think they has several good laughs remembering? Rhonda's costumes were quite nice: thanks Jean Louis. To those giving it such low ratings, lighten-up it was truly entertaining. My rating is of course way to high if I'm being serious, but I stick with it.
Carry on Cleo?
tomsview9 June 2016
Hollywood's love affair with Cleopatra is as strong as the ones she had with Julius Caesar and Mark Antony - and just as doomed.
As for "Serpent of the Nile", maybe only lovers of bad movies could sit through it today, and for them there is much to enjoy. However it's fascinating to see a star like Raymond Burr before he became famous on television.
"Serpent of the Nile" starts with the death of Caesar, which allows Mark Antony (Raymond Burr) to follow his destiny to Egypt and Cleopatra. Fair-skinned Rhonda Fleming is a glamorous Cleopatra, although the makeup department didn't even bother to remove the cap off the bronzing cream in the pursuit of ethnic authenticity.
Along the way, Antony spares the life of Lucilius (William Lundigan), a Roman officer who becomes a friend. However, Lucilius has had history with Cleopatra and has the inside running although she does take up with Mark Antony. Eventually Antony loses his grip, giving himself over to pleasure.
After a falling out of buddies, Lucilius joins Antony's rival, Octavian, who arrives to stop the nonsense in Egypt. Finally, Antony falls on his sword while Cleopatra heads for the basket with the asp.
"Serpent" is flat looking and stagy. That's probably because much of the film looks as though it was shot in director William Castle's office where they just pushed the furniture aside and hung a curtain on the wall - the film uses a lot of curtains.
The film opens out in a few scenes, and does come to life in the big dance number. The movie doesn't seem to have taxed the research department too much except where they apparently discovered that the Ancient Egyptians were partial to scantly-clad dancing girls. In fact researchers on all Cleopatra pictures come to the same conclusion, although I can't remember ever seeing hieroglyphics that depicted things quite that way.
The dance sequence in "Serpent" seems to owe more to Las Vegas than Luxor and is a bit of an eye-opener, especially for a 1953 movie. Julie Newmar cut loose clad in gold paint and not much else - the rest of the movie has a hard time matching a performance like that.
The audacity of the whole thing is reason enough to give the film a viewing. Although it's not a send-up, in some ways it could give "Carry on Cleo" a run for its money.
As for "Serpent of the Nile", maybe only lovers of bad movies could sit through it today, and for them there is much to enjoy. However it's fascinating to see a star like Raymond Burr before he became famous on television.
"Serpent of the Nile" starts with the death of Caesar, which allows Mark Antony (Raymond Burr) to follow his destiny to Egypt and Cleopatra. Fair-skinned Rhonda Fleming is a glamorous Cleopatra, although the makeup department didn't even bother to remove the cap off the bronzing cream in the pursuit of ethnic authenticity.
Along the way, Antony spares the life of Lucilius (William Lundigan), a Roman officer who becomes a friend. However, Lucilius has had history with Cleopatra and has the inside running although she does take up with Mark Antony. Eventually Antony loses his grip, giving himself over to pleasure.
After a falling out of buddies, Lucilius joins Antony's rival, Octavian, who arrives to stop the nonsense in Egypt. Finally, Antony falls on his sword while Cleopatra heads for the basket with the asp.
"Serpent" is flat looking and stagy. That's probably because much of the film looks as though it was shot in director William Castle's office where they just pushed the furniture aside and hung a curtain on the wall - the film uses a lot of curtains.
The film opens out in a few scenes, and does come to life in the big dance number. The movie doesn't seem to have taxed the research department too much except where they apparently discovered that the Ancient Egyptians were partial to scantly-clad dancing girls. In fact researchers on all Cleopatra pictures come to the same conclusion, although I can't remember ever seeing hieroglyphics that depicted things quite that way.
The dance sequence in "Serpent" seems to owe more to Las Vegas than Luxor and is a bit of an eye-opener, especially for a 1953 movie. Julie Newmar cut loose clad in gold paint and not much else - the rest of the movie has a hard time matching a performance like that.
The audacity of the whole thing is reason enough to give the film a viewing. Although it's not a send-up, in some ways it could give "Carry on Cleo" a run for its money.
Cut Price Cleo
TondaCoolwal24 May 2020
Warning: Spoilers
Extremely cheap version of a familiar story. This one shouldn't be mentioned in the same breath as the Colbert or Taylor movies. We have TV's Perry Mason, Raymond Burr, as a chunky drunk Mark Antony and Rhonda Fleming in a black wig and 60s eye makeup, as an unconvincing Cleopatra, played as a opportunist tart with her eye on the main chance. The movie begins with Antony spouting Shakespearean lines over Caesar's bloodied corpse as a prelude to the conflict in which he and Octavius triumph. In a effort to save Brutus, Lucillius, played by wooden-as-a-Nile-barge William Lundigan, takes his place. But the ruse is soon rumbled. Inexplicably, Antony takes a liking to Lucillius and signs him up prior to his campaign to take over Egypt. Lucillius has been a busy boy. Not only has he served Caesar and Brutus, but he also had a fling with Cleopatra and knows she is not to be trusted. Despite his efforts, Antony succumbs to Cleo's charms and war with Rome ensues. Again inexplicably, though Lucillius is under house arrest, Antony contrives his escape knowing he will go to Octavius. Which he does. The remainder of the film is telescoped into a quick montage of battle scenes, Antony's drawn out suicide and Cleopatra putting a rubber snake to her bosom.
If you want to see Hollywood at its worst then this is a film to watch. Cheap and cheerful with loads of matted scenes, slightly risque dance sequences, unconvincing fighting and a palace which looks like the foyer of an Art Deco cinema. The Technicolor cinematography is probably the best thing about it.
I struggled to finish this slice of ham.
Maverick19629 August 2021
First the good stuff. Well, for me, there was only one, the stunning Rhonda Fleming as Cleopatra, who almost but not quite makes it worth while seeing it through. I did, but only because she's so beautiful. If she doesn't excite you, then don't bother. I couldn't take anything seriously apart from Rhonda in Wiiliam Castle's cheap turn at the Cleopatra and Mark Antony saga. Raymond Burr, before he was famous, plays Mark Antony with a grim look on his face throughout. Still, at least he's more acceptable to watch than the miscast William Lundigan who looks like a New Yorker in a dress. I couldn't get over that Castle didn't at least try to give Lundigan a Roman hairstyle instead of just leaving his hair like a 1950's actor would have it in every day life. It's possibly a bit unfair to judge Raymond Burr's love scenes at the time, knowing as we do now that he was gay but he doesn't look at all happy at having to kiss our beautiful Rhonda. Michael Ansara sparks up the action a bit as the heavy. Michael Fox, not J, is Octavius who is coming to depose Queen Cleo, but doesn't look remotely like you would expect a powerful leader to be. The colourful sets are indeed very colourful but also look very cheap. Everything looks like it was shot on the Columbia back lot. Most of it looks like a stage set and all the Romans look American apart from Michael Ansara who at least looks possibly ethnic. This is one case that Perry Mason lost I'm afraid so two stars only for the gorgeous Rhonda Fleming who I read only passed away recently aged about 150. Beauty wise, she actually gives Liz Taylor and Vivien Leigh a run for their money and she's the best actor in it.
Castle and Cleopatra
Michael_Elliott21 November 2009
Serpent of the Nile (1953)
** (out of 4)
Sam Katzman used his low budget skills to bring forth this decent telling of the Cleopatra/Mark Anthony tale, which certainly can't hang with bigger productions but you somewhat have to admire what they were able to do here. The film focuses on Cleopatra (Rhonda Fleming) who is loved by Anthony (Raymond Burr) but her eyes are on Lucilius (William Lundigan), a man who soon begins to think she's not the best thing for Egypt. I really wasn't expecting too much out of this film but I actually found myself enjoying it to a certain level. This certainly isn't the greatest version of the film but then again that's not saying too much as all of them have been all over the place in terms of quality and entertainment. My hat certainly goes off to both Katzman and Castle as they took their low budget and delivered a campy little film that won't please history buffs but it might appeal to those who want a little cheese with their films. The best thing this film has going for it is its beautiful color that really jumps off the screen. I loved the colorful look of all the cheap costumes and sets. The non-stop changing of clothes by Cleopatra really makes great use of the color and just check out that lime colored dress she wears towards the end. Fleming makes for an interesting Cleopatra as in some ways she appears more like a bratty teenager expecting the impossible out of her lovers. I thought Fleming brought some sexuality to the role, which was nice but I wouldn't go as far as to say she's great in the role. Burr certainly doesn't sound the part but he's not too bad. Lundigan ends up stealing the film with his charm. The low budget nature somewhat helps the film focus on the love triangle but this low budget also hurts especially during some of the painting scenes, which look incredibly bad.
** (out of 4)
Sam Katzman used his low budget skills to bring forth this decent telling of the Cleopatra/Mark Anthony tale, which certainly can't hang with bigger productions but you somewhat have to admire what they were able to do here. The film focuses on Cleopatra (Rhonda Fleming) who is loved by Anthony (Raymond Burr) but her eyes are on Lucilius (William Lundigan), a man who soon begins to think she's not the best thing for Egypt. I really wasn't expecting too much out of this film but I actually found myself enjoying it to a certain level. This certainly isn't the greatest version of the film but then again that's not saying too much as all of them have been all over the place in terms of quality and entertainment. My hat certainly goes off to both Katzman and Castle as they took their low budget and delivered a campy little film that won't please history buffs but it might appeal to those who want a little cheese with their films. The best thing this film has going for it is its beautiful color that really jumps off the screen. I loved the colorful look of all the cheap costumes and sets. The non-stop changing of clothes by Cleopatra really makes great use of the color and just check out that lime colored dress she wears towards the end. Fleming makes for an interesting Cleopatra as in some ways she appears more like a bratty teenager expecting the impossible out of her lovers. I thought Fleming brought some sexuality to the role, which was nice but I wouldn't go as far as to say she's great in the role. Burr certainly doesn't sound the part but he's not too bad. Lundigan ends up stealing the film with his charm. The low budget nature somewhat helps the film focus on the love triangle but this low budget also hurts especially during some of the painting scenes, which look incredibly bad.
Ham and Cheese
harukahoneyh6 November 2014
This is definitely the WORST Cleopatra film ever made. I will give it credit for actually mentioning Arsinoë (though they mispronounce her name), but that's it. William Castle was a genius at campy horror, but this thing made me want to retch. I only watched it in full to see how badly they would screw up the ending. Sadly, the ending was the best part.
Other than being set-dressing and wearing pounds of eye-shadow at a time, this 'wicked' version of Cleo spends the whole movie driveling and simpering over Lucilius like a 12-year-old with a crush. Lucilius ranks as one of the worst Gary Stu's I've ever seen. He's constantly outwitting and overpowering multiple assassins while unarmed and his only injury is for a plot-point. He goes on about loyalty, yet he displays none. He asserts his morals and love of Rome, but it only shows in his contempt for Cleopatra, whom he continues to kiss throughout. So seldom have I ached to punch a film character as much as him.
Antony is the hugest disappointment. I like Raymond Burr, but he was terrible in this. He's glassy-eyed and cardboard (and surprisingly un-sexy for a young Burr). The historical Antony was a man of passion. Though given to cynicism, he had immense empathy for his soldiers and suffered severe mood swings. He was a devoted family man, a moving orator, and a respected leader. His downfall was but a lack of cunning.
Of the other absurdities in this film, the two that most made me roll my eyes were the depictions of Julius Caesar and the Temple of Ephesus. Caesar was not some elderly man of no interest to Cleopatra. He was only 55 at his death and still had a real way with women (and possibly with men as well). Towards the end, he was developing a turkey neck, but otherwise looked pretty much the same as he had during his 40's. As for the Artemesion, it was a Greek-style temple in the lush countryside, not a quasi-Egyptian looking temple in the middle of an otherwise empty desert.
This film is corny and ridiculous, but not in the fun way I usually like. It was just tedious, stupid, and irksome. I'm not sure I could stand it even if it were being riffed on MST3k. It's that bad. Anyone who panned the 1963 film of Cleopatra (which is about 97% brilliant and 3% silly) obviously has not seen this disaster!
Other than being set-dressing and wearing pounds of eye-shadow at a time, this 'wicked' version of Cleo spends the whole movie driveling and simpering over Lucilius like a 12-year-old with a crush. Lucilius ranks as one of the worst Gary Stu's I've ever seen. He's constantly outwitting and overpowering multiple assassins while unarmed and his only injury is for a plot-point. He goes on about loyalty, yet he displays none. He asserts his morals and love of Rome, but it only shows in his contempt for Cleopatra, whom he continues to kiss throughout. So seldom have I ached to punch a film character as much as him.
Antony is the hugest disappointment. I like Raymond Burr, but he was terrible in this. He's glassy-eyed and cardboard (and surprisingly un-sexy for a young Burr). The historical Antony was a man of passion. Though given to cynicism, he had immense empathy for his soldiers and suffered severe mood swings. He was a devoted family man, a moving orator, and a respected leader. His downfall was but a lack of cunning.
Of the other absurdities in this film, the two that most made me roll my eyes were the depictions of Julius Caesar and the Temple of Ephesus. Caesar was not some elderly man of no interest to Cleopatra. He was only 55 at his death and still had a real way with women (and possibly with men as well). Towards the end, he was developing a turkey neck, but otherwise looked pretty much the same as he had during his 40's. As for the Artemesion, it was a Greek-style temple in the lush countryside, not a quasi-Egyptian looking temple in the middle of an otherwise empty desert.
This film is corny and ridiculous, but not in the fun way I usually like. It was just tedious, stupid, and irksome. I'm not sure I could stand it even if it were being riffed on MST3k. It's that bad. Anyone who panned the 1963 film of Cleopatra (which is about 97% brilliant and 3% silly) obviously has not seen this disaster!
Are you having a laugh?
brogmiller16 April 2020
I almost feel embarassed to admit that I have watched this pile of junk. One could justify it by saying that in order to find a pearl it is necessary to shift tons of s---! That's my story and I'm sticking to it.
A previous reviewer who referred to this as 'third rate' is being too kind.
The studio blurb declared ; 'Two years in the making'. At least the director( I use the term loosely) William Castle, had sufficient humour to say it should have read: 'two years in the talking, fifteen days in the making'!' Tacky John Waters seemed to regard Castle as God-like but one must remember this is the clown who judged Meyer's 'Faster, Pussycat, kill, kill!' to be one of the great films. The highlight of course is the kinky cabaret in which nubile Julie Newmar dances while wearing only gold spray paint and the type of fabric bikini so fashionable in the 1950's. This only confirms that gold is the most powerful currency! No need to dwell on the bullet-bra worn by Rhonda Fleming as Cleo as this might be regarded as 'trivia' and I would be loth to lower the tone of such a lofty and high-minded enterprise as this. I have no doubt that the actors had a bloody good laugh so why shouldn't we!
Hollywood soap opera version of Antony and Cleopatra
clanciai15 December 2022
They actually try to do their best out of a bad script. The problem is that everyone is miscast, without a single exception, or perhaps with Jean Byron as Charmian for the only exception. The actress playing Arsinoë could also be an exception, but no one still knows who that actress was, but the part is perhaps the only interesting one in the film. None of the others, without exception, is convincing. Rhonda Fleming is not bad, but her script is impossible. John Lundigan as Lucilius is laughable as a head to foot yankee. The less said about Raymond Burr as Antony, the better, while he at least makes an effort to be convincing as a drunk. There have been a lot of miserable screenings of this great romance of the antiquities, they have all failed, but this must be (at least one of) the worst. Even the music is a disaster. Sorry, no one ever seems to get this story right, while Shakespeare got close enough, but no one will ever understand Cleopatra the woman, if Elizabeth Taylor though after all was the best one. "Did anyone ever conquer a woman?" Lucilius asks in the beginning, he never gets an answer, but the Cleopatra case seems to forever confirm the answer as no.
3rd rate
AAdaSC18 October 2009
Lucilius (William Lundigan) switches allegiances from Brutus (Robert Griffin) to side with Mark Anthony (Raymond Burr). When Anthony seeks an alliance with Cleopatra (Rhonda Fleming), Lucilius is not so convinced. Cleopatra has her own motives............
It's an interesting story and that's the only reason to watch the film. From the beginning, when both the narrator and Lundigan refer to "Cassius" as "Cashius", you realize that it's going to be a moronic production. The acting is staged, the dialogue is phony and the sets don't quite work. It's all a bit tacky....and the music cheapens it somewhat more. I'm sure that Cleopatra's make-up is also wrong but like I say, it's the story that keeps you watching. No need to see it again.
It's an interesting story and that's the only reason to watch the film. From the beginning, when both the narrator and Lundigan refer to "Cassius" as "Cashius", you realize that it's going to be a moronic production. The acting is staged, the dialogue is phony and the sets don't quite work. It's all a bit tacky....and the music cheapens it somewhat more. I'm sure that Cleopatra's make-up is also wrong but like I say, it's the story that keeps you watching. No need to see it again.
Cleo and Mark on the cheap
bkoganbing31 December 2016
I saw this film decades ago and it's a deservedly forgotten version of Anthony And Cleopatra. Whether the tale is told by the Bard or be 20th Century Fox's mammoth production, or by Cecil B. DeMille, they all told it better than this film.
Back in the 40s and 50s we had an explosion of redheads in Hollywood all of whom were cast in ludicrous parts. For the good films they did Rita Hayworth, Susan Hayward, Arlene Dahl, and Maureen O'Hara must look back in dread from here and in heaven for some of their films. That would also include Rhonda Fleming.
In this version Julius Caesar has just been murdered and Centurion William Lundigan has made the right move to side with Mark Antony against the conspirator/assassins. For that Raymond Burr makes him his trusty aide and it is through Lundigan's eyes we see the story unfold.
Which is rather well known in literature and film. Raymond Burr who looks like he's having an enema because he knows full well what a stinker this is carries on valiantly as a man who just can't get away from Cleo. In his defense it is hard to abandon Rhonda Fleming as Cleopatra, but as we know both of them will be sunk in the end.
Fortunately Harry Cohn had those Salome sets and like every other studio boss you get maximum use out of what you have.
Fleming and Burr just have no chemistry and I don't think it was just because Burr was gay. Both knew this one was a Thanksgiving Day gobbler.
Back in the 40s and 50s we had an explosion of redheads in Hollywood all of whom were cast in ludicrous parts. For the good films they did Rita Hayworth, Susan Hayward, Arlene Dahl, and Maureen O'Hara must look back in dread from here and in heaven for some of their films. That would also include Rhonda Fleming.
In this version Julius Caesar has just been murdered and Centurion William Lundigan has made the right move to side with Mark Antony against the conspirator/assassins. For that Raymond Burr makes him his trusty aide and it is through Lundigan's eyes we see the story unfold.
Which is rather well known in literature and film. Raymond Burr who looks like he's having an enema because he knows full well what a stinker this is carries on valiantly as a man who just can't get away from Cleo. In his defense it is hard to abandon Rhonda Fleming as Cleopatra, but as we know both of them will be sunk in the end.
Fortunately Harry Cohn had those Salome sets and like every other studio boss you get maximum use out of what you have.
Fleming and Burr just have no chemistry and I don't think it was just because Burr was gay. Both knew this one was a Thanksgiving Day gobbler.
Campy reminder that Richard Burton and Raymond Burr actually shared the same role.
mark.waltz8 September 2018
Warning: Spoilers
Why is the opening discovery of Julius Caesar's body by Mark Anthony spoke in typical Shakespearean language rather than regular English like the rest of this film? That is the first thing which I noticed of this puzzle box colored epic that is about as historically accurate as one of Mr. Peabody's history lessons on "The Rocky/Bullwinkle Show". It is certainly pretty to look at, but the set paintings will make you laugh, especially when you spot the area where the painting ends and the sound stage begins. That is never more evident than a sequence where Burr approaches a castle that looks more from the middle ages than from 44 B.C.
As produced by Sam Katzman and directed by William Castle, this stars the strikingly beautiful Rhonda Fleming as Cleopatterer, cooing and plotting, going from romantic to nefarious to set the stage for her final exit. Claiming only to being interested in the legacy of her son (barely seen) by Julius Caesar, Fleming simply walks through the film, giving only a shell into this infamous Egyptian queen's legacy and notorious passions. She's not going to get that from Burr, tightly covered up in his general costumes, so that's left to William Lundigan as Roman officer Lucillus, initially siding with Brutus, then supporting Anthony, then falling for Fleming's sultry eye lash batting, and finally, when onto her, turning his loyalty back to Octavian's Rome. The only thing really memorable about this are the colors, so vivid, that they make the cheap sets (featuring mostly curtains, bought in bulk obviously to save a bundle) look better. I'll give this credit for not being as absurd as the brief appearance of Cleopatra in the 1957 flop "The Story of Mankind". This Cleopatra barges up the Nile and sinks, making Columbia's other big biblical era epic of the same year ("Salome") a masterpiece in comparison.
As produced by Sam Katzman and directed by William Castle, this stars the strikingly beautiful Rhonda Fleming as Cleopatterer, cooing and plotting, going from romantic to nefarious to set the stage for her final exit. Claiming only to being interested in the legacy of her son (barely seen) by Julius Caesar, Fleming simply walks through the film, giving only a shell into this infamous Egyptian queen's legacy and notorious passions. She's not going to get that from Burr, tightly covered up in his general costumes, so that's left to William Lundigan as Roman officer Lucillus, initially siding with Brutus, then supporting Anthony, then falling for Fleming's sultry eye lash batting, and finally, when onto her, turning his loyalty back to Octavian's Rome. The only thing really memorable about this are the colors, so vivid, that they make the cheap sets (featuring mostly curtains, bought in bulk obviously to save a bundle) look better. I'll give this credit for not being as absurd as the brief appearance of Cleopatra in the 1957 flop "The Story of Mankind". This Cleopatra barges up the Nile and sinks, making Columbia's other big biblical era epic of the same year ("Salome") a masterpiece in comparison.
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