The DVD of the 1953 Hollywood version of Julius Caesar directed by the underrated Joseph Mankiewicz (All About Eve) has been relegated to old-time Shakespeare buffs and students not wanting to sludge through actually reading the play. And yes, it looks a little stagey and feels a little dated and stiff, but it’s still a politically relevant play and has one of the most fascinating casts ever assembled for a Shakespeare adaption. Headlined by a young buck in only his fourth film, Marlon Brando absolutely dominates the veteran cast around him and proves his genius. His performance alone makes the film more than watchable, and luckily there are a few other treasures to be found in it.
The now familiar plot goes something like this... worried the head dog of Rome, Julius Caesar (Louis Calhern), was getting a little too powerful, his fellow politicians decide to kill him, led by the conniving Cassius (John Gielgud). Even Caesar’s good friend Brutus (James Mason) is convinced to join in the plot for the best of the Republic. The Senators all take turns stabbing Caesar (done mostly just off screen). After his death, Mark Antony (Brando), who was not part of the cabal and admired Caesar, is allowed to give a speech at his funeral only after agreeing to not implicate anyone. Brutus must deal with the nagging guilt, his still conspiring allies, and his wife Portia (Deborah Kerr). When Antony delivers the famous “Friends, Romans, Countrymen, lend me your ears speech” he convinces the crowd, using pure sarcasm and coded words, who is to blame for the murder. The speech is the centerpiece of the film and then it becomes a literal war between Antony and the conspirators who are all turning on each other.Continue Reading
The Wild One
Though that amazing string of performances in A Streetcar Named Desire, Viva Zapata!, Julius Caesar, and On the Waterfront earned Marlon Brando four straight Oscar nominations (finally winning for Waterfront) and made him the most celebrated acting talent of his generation, it’s actually his work as Johnny in The Wild One that made him an icon of rebellion and helped inspire the youth culture that was just beginning to emerge in America (and abroad). The Wild One was the first “biker picture” to penetrate mainstream consciousness, a genre that would become very popular in independent film ten lean years later.
Though produced by issue-director/producer Stanley Kramer, giving the film an overly dramatic “this is important” vibe, it’s actually a really fun B-movie, carried by Brando’s cocky performance. His Johnny leads his biker gang almost like a cult leader. The gang, with their rowdy antics, tries to impress their messiah, but Johnny, with his southern/ be-bop accent, is a man of few words. Hitting the road looking for kicks, Brando and his gang stumble on a small town where they instantly catch the attention of the law and some uptight citizens, and a saloon owner invites them to stay for beer and sandwiches. The innocent young barmaid Kathie (the very beautiful Mary Murphy) catches Johnny’s eye. It doesn’t help when he declares “I don’t like cops,” even though her dad is the town’s sheriff (Robert Keith, father of Brian), and is actually very evenhanded and sympathetic to Johnny and his pals.
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