This browser is supported only in Windows 10 and above.

DID YOU READ

Remembering Elizabeth Taylor: “Cleopatra”

Remembering Elizabeth Taylor: “Cleopatra” (photo)

Posted by on

Another Elizabeth Taylor film, another Elizabeth Taylor performance as a powerful woman. Through three of these columns so far, I’ve been struck repeatedly by Taylor’s fierce, feminist independence onscreen, first as a teenage girl who enters the greatest horserace in the country, and then later as a jilted wife who fights to reclaim her distracted husband. Now we come to 1963’s “Cleopatra” where she plays the famous Egyptian pharaoh who delights in making powerful men like Julius Caesar and Mark Antony kneel before her as a display of her superiority. As Taylor’s star grew, so did the stature of the women she played, until here she plays one of the most powerful people, man or woman, in world history.

Today the film is more infamous than famous. With a final budget of over $40 million — $300 million 2011 dollars — it was the most expensive film made to that date. And while the shoot dragged on for months during delays and reshoots and production relocations and directorial replacements and star illnesses, the married Taylor began an affair with her also married co-star, Richard Burton, sparking scandalous headlines around the world. The public’s curiosity about the couple helped “Cleopatra” eventually break even financially, but there’s little evidence of their passion in the finished film. The biggest tangible impact the two had on “Cleopatra” was its length; director Joseph L. Mankiewicz wanted to release the film in two three-hour halves: the first about Cleopatra and her relationship with Julius Caesar (Rex Harrison), the second with Burton’s Mark Antony. But with so much money on the line, and audience interest so focused on Taylor and Burton, Fox ordered Mankiewicz to combine his movies into one four-hour picture.

That was probably the right business decision but it was the wrong artistic one. At 243 grueling minutes, “Cleopatra” is an epic in length only. Save one complex naval battle, and the truly memorable arrival of Cleopatra in Rome to the adoration of thousands of peasants, the film is most a procession of scenes in which people in old timey clothes bark at one another about loyalty and respect and the gods. Mankiewicz’s structural preference is evident in the film’s shifting focus: its initial lead is Harrison’s Caesar, who comes to Egypt to settle a dispute between Cleopatra and her scheming brother, then stays after he’s bewitched by her beauty. Later he returns to Rome and she follows, just in time for a recreation of the Ides of March assassination (with that great Italian icon, Carroll O’Connor, as one of the conspirators!). After Caesar’s death, Cleopatra flees to Egypt; Antony then travels to Alexandria to request the queen’s assistance with a food shortage, which sparks their affair and mutual undoing.

There is one argument to make in favor of “Cleopatra”‘s Nile-like length. As it exists, “Cleopatra” is essentially an ode to bigness. It gives us a taste — more than a taste really, more like an enormous gorging — of Roman and Egyptian decadence, ancient civilizations that were apparently towering monuments to their own narcissism. With its gargantuan runtime and opulent production design, “Cleopatra” is essentially the exact same thing. You might even say that Hollywood, in all its bloated self-importance, and commitment to spreading its products around the world, is the true modern inheritor of Caesar and Cleopatra’s wasteful greed and imperialism.

Or maybe these are just the rambling thoughts a bored man considers while sitting through a four hour film. This movie has all the subtlety — not to mention all the authenticity — of a whoopee cushion fart. There’s not much else to consider, especially once Burton arrives as Mark Antony. Like so many legendary on-and-off screen romances, Burton and Taylor don’t live up to their sensationalistic reputation, at least not here (Taylor actually has much better chemistry with Rex Harrison). The pair share exactly one romantic moment, the one where — HISTORICAL SPOILER ALERT!! — Antony dies in Cleopatra’s arms, and he tells her, “You and I will prove death so much less than love.” Most of the rest of their scenes consist of Taylor sneering at Burton and Burton shouting at Taylor. A little glimpse into their home life, perhaps? Either way, it’s tiresome when repeated this often.

Their big, blustery one-note performances border on camp, and it’s easy to imagine “Cleopatra” having evolved into a cult classic, if only it wasn’t so goddamn long. It’s sort of kitschy fun to watch Taylor get regal Rex Harrison and barking Richard Burton to supplicate themselves at her feet, basking in the glory that is Liz. Plus her thick eye makeup and hair extensions, not to mention her general air of manic superficiality, kind of make her look look like the prototype for “Jersey Shore” star Snooki. Take a look:

cleopatra-taylor-03292011.jpg

Though Cleopatra’s royal station fits Taylor’s tastes as an actress, the part doesn’t provide her enough opportunities to play the sort of scenes she does best: where she’s fierce and ferocious and feminine all at once. As Cleopatra, she lays about the palace, ordering people to fetch her things and run he baths. That’s not the Taylor we want to see. We want her to be powerful, not pampered. One line caught my ear, though. Preparing for her death, Cleopatra asks a servant to deliver a message to Octavian (Roddy McDowell), Caesar’s successor as Emperor of Rome. “Words are wasted on such a man,” the servant replies. “I’ve wasted so many on so many men,” Cleopatra says in response. More on this line, and on the metatextual interplay between Taylor and her most famous roles, in our next and final column.

Previous Remembering Elizabeth Taylor Columns
“National Velvet”
“Cat On a Hot Tin Roof”

Watch More
IFC_Portlandia-AORewind-blog

A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

Posted by on
GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

Watch More
SistersWeekend_103_MPX-1920×1080

WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

Posted by on

Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

IFC_Comedy-Crib_Sisters-Weekend-Series-Image

IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

SistersWeekend_101_MPX-1920x1080

IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

IFC_Comedy-Crib_Sisters-Weekend_About-Image

IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

SistersWeekend_102_MPX-1920x1080

IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

Watch More
IFC_BVSS_203_birthday-song-celebration

Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

Posted by on
GIFs via Giphy

Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

via GIPHY

IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

via GIPHY

IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

Watch More