Zlatica
One of the worst ways to make a cult movie is to set out to make a cult movie.
Darin
One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.
Jenni Devyn
Worth seeing just to witness how winsome it is.
ilprofessore-1
One of the first grand scale Hollywood historical melodramas shot entirely on location throughout Italy and at Cinecitta in 1948-9 only a few years after the Second World War, this film benefits from its believable historical settings. Superbly composed and photographed in B&W by one of Zanuck's best cinematographers, Leon Shamroy, and costumed lavishly by the great Vittorio Nino Novarese, the visual aspects of this film add an unusual authenticity to the story. In addition, we have some grand theatrical acting from such classic scene-stealers as the great Katina Paxinao from Greece, England's Felix Alymer (Polonius to Olivier's Hamlet) and America's own wunderkind Orson Welles reunited with his Bernstein from Citizen Kane, Everett Sloane. (Watching Sloane's performance in this film one can only regret that he did not play Iago to Orson's Othello.) The beautiful but rather wooden Wanda Hendrix as Camilla Verana can't compete in this superb ensemble, all directed masterfully by the underestimated Henry King, but the overall effect is magnificent. Who said you can't make a silk purse out of a sow's ear. Not if the sow is Italian!
funkyfry
I was very pleased with pretty much every aspect of this production. This is really an exceptional historical drama, and although it doesn't have some of the pure thrills of the best swashbuckling action films it more than makes up for it in my book with a complex, adult story that takes the main characters through major transformations. There are many twists and turns in the narrative but all are handled in such a way that neither suspense nor character are sacrificed.The film tells the story of Orsini (Tyrone Power), or a man who calls himself Orsini (we find out that his true mother was a peasant), an extremely cynical and ambitious man in the employ of the famous warlord Cesare Borgia (Orson Welles). Borgia sends him on several missions during which the stated goal is for Orsini to arrange and break marriages that will prove advantageous to Borgia. When he arrives for his first mission in Vienna, he is immediately the object of a botched assassination attempt, but instead of killing the assassin Mario Belli (Everett Sloane) he makes him his assistant. This might seem arbitrary but the further we get into the film we see this is Orsini's true character; he is a master at taking the negative things life throws him and turning them positive.Sloane does his best to steal every scene that Welles hasn't already absconded with, but Power manages to focus the attention on himself a surprising amount of the time all things considered. All 3 are powerful and interesting characters, with Welles' Borgia unfortunately missing in action for the main part of the action but reappearing in a startling torture/dinner scene towards the climax (this is also Sloane's best scene in the film). Those expecting a straightforward adventure/romance story like "Scarlet Pimpernell" or "Zorro" best look elsewhere – this is a story of corruption, betrayal, and redemption which engages the question of the ultimate value or worth of an individual's life. The film's creators have set themselves up with a difficult task – they need to make us dislike Orsini just enough to believe that he truly is a complete opportunist with a consciously Machiavellian philosophy, but like him enough to believe that he's undergoing a slow moral transformation under the influence of Count Verano (Felix Aylmer) and his young wife "Madonna"/Camilla (Wanda Hendrix). They succeed almost perfectly, hampered only slightly by Hendrix' lack of presence (a definite necessity for this role which combines sexual and religious overtones with her royal station). At one point there's a biblical analogy going on, as Orsini paints his friend Belli in a "last supper" scene as Judas and seems to paint Camilla as the Lady Madonna. So there's just a lot going on here depending on where your gaze wanders. In the early parts of the film when Orsini is a total cynic about morality who took advantage of everyone else, I thought I was looking at a kind of period film noir – in fact his character in the beginning is very similar to his great performance in "Nightmare Alley." His dramatic character development is handled in a relatively subtle way – there's a kernel of good in his soul that's revealed in his painting, a reflection of his ability to see beauty in people that's been buried by the harsh demands of life. It does make sense that eventually he would see the beauty and good in himself as well.There seems to be some controversy on the subject of the photography of the film, which many posters say should have been done in color. In my opinion the film has much more style and beauty in black and white. Technicolor is better suited to a less dramatic story; even though this film has some great spectacle – including a full-blown castle siege and a memorable woodland battle in the mist – I think the photography was excellent, and the black and white enhanced the details and beauty of the interiors while keeping the focus firmly set on the actors. Night-time scenes like Belli's assassination attempt and the eerie misty forest would not be as effective in color either. As soon as I saw that this was a serious dramatic piece I was glad not to be distracted by anyone's purple and green tights.One last note on Alfred Newman's score – it is remarkable, one of the best for an epic/period film that I've ever heard. Combined with excellent photography, indelible performances from the 3 male leads, seemingly dozens of authentic Italian locations, and a mature intelligent screenplay, it provides director Henry King with the best production that I've yet seen from the veteran director. I've never known King as a particularly good director of actors but in this film we have 3 performances that are unforgettable. Welles with his bizarre beard and brazen manner paint a portrait of unworthy ambition – at first his greed and power appear glamorous and appealing to us just as they do to Orsini, but eventually he is shown as a petty malicious fool when Orsini and Belli trick him in the supper scene. Sloane's Belli is a fascinating character, totally unpredictable in his behavior but somehow still believable as a human being. Power's Orsini is a remarkable character as well, revealing depths of feeling in the heart of a true warrior. This is just the type of film that entertains you immensely with its plot twists and character developments on first viewing but which I suspect will reveal even more depth upon multiple viewings.
clavallie
I only get to see this when its on TV and have never yet had the pleasure of seeing the film in its entirety. Definitely one of Tyrone Powers' best performances, and a superb supporting cast. Surprising for Hollywood of the time (and for Hollywood of all time, actually), the flavor of the film and its characters are accurate to the time and place of the film's setting.This film and Leslie Howard's "Pimpernel Smith" are two of the films I most regret lacking from my film library.Why is this not on DVD? Why is Myra Breckinridge, On Deadly Ground, and Gigli? Proof positive that movie industry executive have their heads firmly inserted in warm, dark, and smelly place.
MartinHafer
This is a highly unusual movie simply because of the subject matter--the Borgias and the consolidation of power in the Italian states during the 15th and 16th centuries. I've gotta admit that this earns an extra point or two just for originality. Power plays a soldier of fortune--a role he is well suited for, as in many ways, it's almost like his pirate movies or Zorro! So, the transition is smooth. Also, the story and supporting actors are excellent. I recommend this film especially to lovers of old films and adventure movies. I think some teens and kids would also enjoy it, but considering the short attention-spans of most kids these days, you might think twice before having them watch this movie (or just force them to watch because it's good entertainment by gum!).
