The highlights of this film center on Helen Gardner, who does it all. As producer, I appreciate what she was trying to do in forming her own production company, and to elevate the nascent art form by attempting a more substantial film. As Cleopatra, it's an exaggerated performance that hasn't aged all that well, but I loved her slow sensuousness and how she presents a view beauty different from the ones we're so regularly bombarded with. My favorite moment was when she shimmied closer and closer to the camera in a seductive dance, helping out the static camera view. I also liked the sexual daring of the slave subplot early on, where she spares a slave from death so that he might join her as a lover for ten nights, after which she expects him to drink poison and die (apparently this faced censorship in some places). Lastly, Helen Gardner as costume designer produced a wardrobe that may not come across as lavish as films even a decade or two later (Claudette Colbert wearing Travis Banton's costumes for the 1934 version comes to mind), but they were interesting and beautiful.
Unfortunately, the film shows its age and lags with a slow pace common to the period, starting at about the 30 minute point with the meeting between Cleo and Marc Antony which lasts about 10 minutes. You'll definitely have to put yourself into 1912 mode if you want to make it through the hour and half. The camera is set up as if this was the theater, and director Charles L. Gaskill was simply filming a stageplay. There are no montage sequences, tracking shots, or even close-ups. I think there may have been just one very slow pan, and it's no wonder actors from the period exaggerated their emotions and body movements. The script also suffers from giving the slave character Pharon much too big a role. Don't watch it for a history lesson either, although it tells us it's going to take liberties up front.
As for the controversial, modern soundtrack which also annoys many viewers, overall I thought it fit the emotions and breathed some life into a creaky old film. The two points at which lyrics are sung seemed a little off for a silent film, but I appreciated how brave the choice was and found myself liking it.
Unfortunately, the film shows its age and lags with a slow pace common to the period, starting at about the 30 minute point with the meeting between Cleo and Marc Antony which lasts about 10 minutes. You'll definitely have to put yourself into 1912 mode if you want to make it through the hour and half. The camera is set up as if this was the theater, and director Charles L. Gaskill was simply filming a stageplay. There are no montage sequences, tracking shots, or even close-ups. I think there may have been just one very slow pan, and it's no wonder actors from the period exaggerated their emotions and body movements. The script also suffers from giving the slave character Pharon much too big a role. Don't watch it for a history lesson either, although it tells us it's going to take liberties up front.
As for the controversial, modern soundtrack which also annoys many viewers, overall I thought it fit the emotions and breathed some life into a creaky old film. The two points at which lyrics are sung seemed a little off for a silent film, but I appreciated how brave the choice was and found myself liking it.