A GREAT QUEEN

Dominion, Volume 28, Issue 121, 15 February 1935, Page 5

A GREAT QUEEN

And the Idea of Empire ■ I (By “John Storm.”) Egypt, which so long held first place in the culture and power of the ancient world, to-day, through the work of modern archaeologists, as well as the records of history, still holds its sway over modern imaginations. Thus we are grateful to Mr. Cecil De Mille that in his latest and most spectacular picture, “Cleopatra,” he has not allowed his players to be overawed and dwarfed in the midst of wealth and magnificence. For in this faithful presentation of the anqjent world the important thing is that the great queen. is shown surrounded by. men of every sliade of character. These are played by capable Englishspeaking actors. Henry Wilcoxon makes a vivid picture of Mark Antony, Warren William has surpassed himself as Caesar, and the lesser Romans and Egyptians among the principals are all cast with, a subtle regard for dramatic values. To contrast two types of government as Mr. De Mille has done, in the midst of a great spectacular display, is a remarkable achievement. The marked difference between the qmrtial senator-rid-den Rome and the imperial luxury-laden Alexandria is most arresting. Each of the capitals has its plotting group, but the atmosphere of each is different. The Prime Minister in Alexandria is born to cunning. The three Roman citizens assume it. This is made very plain in the brilliant piece of acting of the three conspirators. Contrast it with that in which Herod makes known to the Alexandrine his hopes for the murder of Antony. Joseph Schildkraut, looking the part of luscious, full-blooded treachery, almost smacks his lips in the rascally Egyptian Minister’s ear. . Caesar comes to Egypt,. and, in his movement, and in the slowness of his ges-. ture, there is an impression of hidden and hoarded power. No softness in Caesar! No cunning either 1 But there is the deeply thought-out “plan.” He is the original of all the dictators Europe has ever known. In Alexandria Caesar, that great diarist, sits surrounded with “the tools of bis trade.” In the midst of his parchments the great general mingles his writing with war thoughts. And as he sits there he lazily tries out a new flame-thrower. In comes a messenger with a roll of carpet. Unwrapped from it is the mortal and the moment on which the fate of Rome, of Egypt and of all the ancient world depends. . , It is a moment in history that everyone has pictured in his own way. Mr. De Mille makes Cleopatra sit up from the last fold of the rug rather nonchalantly, almost jauntily. Claudette Colbert in the part then steals about the room peering into this and that as many a girl has done in lesser but like circumstances when she has wished to break the ice between herself and some hard character, either a parent or a lover. The famous De Mille has made her behaviour on this occasion so absurdly natural that I fear the ardent young critics will cry out for something more unreal, maddening and “glamorous” in “the Serpent of Old Nile.” This view is reminiscent of Bernard Shaw’s play “Caesar and Cleopatra,” when he makes her lean from the edge of the base of a lesser Sphinx and call shyly to Caesar. “Old Gentleman!” To those who have the idea of Cleopatra placed in the same category as Helen of Troy, Maeve of Ireland and even Mary of Scotland —for she has joined the ranks of the fabled queens—this treatment will appear beet. No woman living could present the substance of these immortals, but only a facet of any one of them. They are each partly a legend and partly a mask behind which moves the unpredictable and the “everliving.” And a man must compromise a little with reality if fie is to bring any one of them into a play. Thus I think that Claudette’s performance may take its place beside those of the men. For each one of their parts, comprehensive as it may be. is simpler than hers, and doubtless she knows it.