• It’s a Shakespeare adaptation of course but it’s in-line with Mankiewicz’s work- multiple characters perspective driving the narrative, dialogue on fire, and top-notch acting—not that different than All About Eve
  • The third nom in 4 years for Brando with Streetcar in 1951 and Viva Zapata! In 1952—of course he would win in 1954 for Waterfront and yet another nom in 1957 for Sayonara
  • Brando is absolutely brilliant—but he’s not alone, John Gielgud and James Mason are great- Gielgud probably comes out second best- he has a scene, about 20 minutes in just before the story with a soliloquy as he’s pacing forward… jaw = dropped
  • It’s a genius casting for Brando or/and role choice for him. It shows range and that he can do elevated material. It’s so varied from his previously nominated work including his 1951 star-making (and artistic acting-paradigm-shifting performance in Streetcar where he plays an animal)
  • The cast is filled with actors with distinct dictions—many imitators and comedians over the years would tackle Mason and Brando especially
  • The narrative moves—packs in the dialogue at a rapid pace- very exciting- excellent choice by Mankiewicz
  • Among the best dialogue of the Bard—Louis Calhern doesn’t fair quite as well- He’s a tall elegant figure though for Caesar—Deborah Kerr not so much either-
  • I love George Macready—not enough of him here
  • When James Mason plunges his dagger into Caesar his face—the acting is spectacular- that isn’t Shakespeare—that’s acting and direction
  • Brando really arrives one hour in—he’s only really mentioned before and in a scene during a parade for a few moments. Of course at the hour mark when he comes in he takes over the film
  • He’s supremely brave, emotional- he’s sweating
  • The camerawork on Brando is fantastic—Mankiewicz knows he has something special—there’s a crane that backs up and expands when Brando yells to give him space and then comes back in closer at the more intimate end of the scene
  • Mason and Brando talking to the roman mob are like two brilliant lawyers making fantastic closing statements. Dueling pianos- it’s acting transcendence and the reason this is a top 10 of the year film
  • Another great one of Brando in the foreground with the mob rioting in the background—great mise-en-scene
  • Formally- don’t love the titles coming in 83 minutes in for the first time
  • HR