ユリウス・カエサルの増大する野心は、親友ブルータスにとって大きな懸念の種となっていた。カッシウスはブルータスを説得し、カエサル暗殺の陰謀に加担させるが、二人はマーク・アントニーの力量を大きく見誤っていた。
製作費: $2,000,000 (3億円)
興行収入: $3,920,000 (6億円)
推定収支: $1,920,000 (3億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
Having finally beaten Pompey's armies, Caesar (Louis Calhern) has returned to Rome to the acclaim of it's population. A fourth term as consul and the title of dictator for life suit his ambitions but they cause alarm amongst those who feel this is the first step to absolutism. First amongst those suspicious characters is Cassius (John Gielgud) and together with Brutus (James Mason) and Casca (Edmund O'Brien) conclude that drastic action needs to be taken if they are to prevent him becoming king. They must, however, factor in the powerful Mark Antony (Marlon Brando) - Caesar's right hand man, and an honourable military figure. The Ides of March duly arrive, and history takes it course - and for me, that's when this adaptation of Shakespeare's play comes alive. The hitherto largely unseen Brando's character cleverly manipulates the mob into handing him an opportunity for vengeance on the assassins, and together with Octavius (Douglas Watson) a chance to wrest control of the empire for themselves. Many people have said that Gielgud was the finest of 20th century Shakesperian thespians and his performance here is potent and evocative. His character comes across as only slightly less ambitious than Caesar, and one way more venal. It's James Mason, though, who impresses most here. His Brutus imbues a sense of principal, of honour and integrity - he seems the only one not quite in it for himself. Both of these men deliver some legendary soliloquies with skill and adroitness. Brando really only gets the one significant kick at the ball as he delivers his eulogy, but here he delivers an impassioned speech to the baying crown that's as insightful as it is inciteful. Joseph L. Mankiewicz competently presides over a well produced and paced dramatisation of brutality, duplicity and pride - and he allows those on screen to demonstrate their abilities to deliver some slightly abridged but still complex dialogue strongly. Not be forgotten are a couple of important, if sparing, contributions from Greer Garson and Deborah Kerr and we are delivered of a great story of intrigue and power that I really enjoyed.
