All language subtitles for BBC Cleopatra.aab

It has been called the most
expensive motion picture ever made.

Hail, Antony's legion!

It has been called
the biggest flop of all time.

You will kneel. I will what?!

On your knees.

It is known as a film that nearly
bankrupted a Hollywood studio.

Am I to understand, then,
that you feel free

to do with me whatever you want,
whenever you want?

And a scandal that sent
the press into a feeding frenzy...

Antony, how will I live?

..that had the public
begging for more.

Everything that I shall ever want
to hold or look upon or have or be

is here now.

For nearly four decades,
the story of Cleopatra has been

shrouded in rumour
and marred by gossip.

It is one of the most famous - and
infamous - stories ever put on film.

Where is Egypt?!

But behind the spectacle
is a true story as compelling

and as tragic
as anything seen on the screen.

It was a story that changed lives,

and a film that changed Hollywood...

forever.

To the outside world,
Hollywood in 1959

was still the place where dreams -
and fantasies - came true.

But unknown to the public
and behind the backlot facades

was an insidious run of bad luck

that was eating away
at badly needed profits.

In 1948, the US Supreme Court

had stripped studios
of their theatre chains

and the success of television

had cut movie audiences
by as much as 40%.

The studio system had broken down.

If you were in the studio system

at 20th in the '40s,

there was this huge,
successful operation.

As it began to fall apart,

in the middle '50s, it was just
entirely different,

an entirely different sort of plant.

But of all the surviving studios,

none was as vulnerable to
the economic crisis

as 20th Century Fox.

Darryl F Zanuck,

the visionary who had co-founded
the studio in 1935,

had departed to pursue
his own dreams

of making
independent films in Europe.

When Zanuck left,
clearly, part of it was...

the change in Hollywood itself.

Hollywood's fierce competition
with television.

They were not allies, at the time.

The battle against television

was left to Fox President
Spyros P Skouras.

But the powerful Greek immigrant
wasn't a film-maker like Zanuck.

He was an exhibitor,
trying to fill seats.

We have invested the largest
sums of money in our history

to provide a total of 55 productions

for the next 12 months.

These productions will be
of quality and scope

that, we believe,
will appeal to every one of you.

Even with such stars as John Wayne,

Elvis Presley and Marilyn Monroe

in the studio's roster, 20th Century
Fox struggled to turn a profit.

By 1959, the studio was
haemorrhaging money, thanks to

a series of high-profile flops.

They had Satan Never Sleeps.

They had the only John Wayne film
not to make money,

The Barbarian And The Geisha.

It was a terrible, terrible run.

We had very, very tough times
selling the movies,

getting people
interested in the movies.

It was a company on the edge.

In an effort to rebuild
Fox's ailing coffers,

Skouras entered negotiations
to sell the studio's prized backlot

to real-estate developers.

But selling the property

would offer only a brief reprieve
from Fox's financial woes.

Skouras ordered executive
David Brown to search

the Fox Script Library for an idea
that could be re-made quickly

and at minimal expense.

Spyros P Skouras sent me a memo

saying, "Dear Dave..."
He called me Dave.

"..we need some big pictures,"
in his ebullient Greek accent.

And I went through the list of films
that 20th Century Fox made

and there was Cleopatra.

Starring Theda Bara,
the 1917 version of Cleopatra

had been a stunning success.

Brown and Skouras hoped a remake
would bring in a tidy profit.

But while the executives easily
agreed upon Cleopatra

as their story, finding a producer
proved to be much more difficult.

We could find nobody to produce it
until Walter Wanger,

a famous producer of his time,
walked into my office and said,

"There's something I would
love to do,

"it's a subject called Cleopatra."
We fell on him.

Walter Wanger was a dapper veteran
of the 1930s and '40s

whose prolific career
had recently derailed,

largely due to marital problems
with his wife, actress Joan Bennett.

Walter's wife was having an affair
with her agent.

Walter...

who was, I guess, a fairly good
marksman, sneaked up on them,

caught them in the car
and pumped a bullet in a place where

this gentleman would not be able to
consummate an affair.

Wanger served a four-month term
for his crime of passion.

And in the years since his release,

the producer had been relegated
to making B-movies

like Invasion Of The Body Snatchers.

Everyone! They're here already!

YOU'RE NEXT!

But a surprise Oscar-winning hit
in 1958, entitled I Want To Live,

changed Wanger's luck
for the better.

And my special thanks to
Mr Walter Wanger,

who made this possible. I thank you!

APPLAUSE

It was thought that another
critical success

would put the producer's career
back on top.

But Fox wasn't concerned with
critics. What the studio needed

was a film that would bring in
box-office receipts.

They brought out this script

that looked like parchment,
and said,

"Just give us this all over again
and we'll make a million bucks."

But it was basically a silent
movie script, with no dialogue.

And Wanger was appalled.

Wanger was told to
rehabilitate the script

and get it into theatres
as soon as possible.

Fox gave Wanger
less than $2 million,

64 days and the run of the studio's
backlot to make the picture.

They started clearing the backlot
of the Fox lot to build the palaces

in the preliminary
stage of Cleopatra,

when Skouras sort of said...
gave the go-ahead for this.

Wanger was also ordered
to cast his leading lady

from the roster of Fox's
affordable contract players.

Names suggested included
Academy Award-winner Joanne Woodward

and Joan Collins,
who even screen-tested for the role.

Alexandria?
Well, that's a noble present. Yes.

But I want something
greater in exchange.

Rome.

And people have said that
I am ambitious.

Why?

Don't you love me?

Don't you want Egypt?

Don't you want the world?

But Wanger protested.

He had dreamed of making
Cleopatra for years

and didn't want the film to end up
as another sword-and-sandal quickie.

Spending money out of his own
pocket, the producer hired

Oscar-winning production designer
John DeCuir to create exotic,

romantic sketches and models
for presentation to Fox executives.

He did a spectacular display
of inter-corporate salesmanship.

He built models,
he had sketches done.

He showed the executives essentially

what they could have
if they opened their mind.

Where Wanger saw beauty and vision,

the Fox executives saw the
possibility of even bigger profits.

By mid-1959, Cleopatra's budget
had swelled to nearly $5 million.

Bigger stars could now be
considered for the lead,

including Audrey Hepburn,

Susan Hayward

and Sophia Loren.

But Wanger had another star in mind.

Elizabeth Taylor.

After 15 years, the violet-eyed
actress was about to be

released from her contract with MGM.

For the first time,
she was free to choose the films

she wanted to make
and negotiate her own terms.

Taylor was also famous for
her colourful personal life.

By the age of 25,
she had been married three times,

before being widowed by a
plane crash that killed her husband,

producer Mike Todd.

The public grieved with Taylor
over her loss.

But the affection of her fans
soon soured

when the young widow began spending
time with Todd's best friend,

singer Eddie Fisher,
who was at the time

married to actress Debbie Reynolds.

She was living with
the ghost of Mike Todd.

And the closest thing to him
that she could find

to keep that ghost alive
was Eddie Fisher.

And I believe, myself,

that she married him

to marry the closest...

the ghost of...of Mike Todd.

Elizabeth Taylor and Eddie Fisher
married in Las Vegas

on May 12th, 1959.

The tabloids labelled her
a home wrecker,

and negative public opinion
made Fox wary of hiring her.

But an even greater concern
for the studio

was the actress's reputation

for having chronic health problems

that often caused expensive delays.

Walter Wanger ignored all warnings.

While Taylor was in London working
on Joseph L Mankiewicz's production

of Tennessee Williams'
Suddenly, Last Summer,

the actress received a phone call
from Hollywood.

The phone rang
and it was Walter Wanger,

asking her if
she'd like to play Cleopatra.

And Elizabeth thought
that was ridiculous.

Eddie had taken the call

and turned to her, apparently,
and said what Wanger wanted

and Elizabeth said, "Tell him
I'll do it for a million dollars."

And Wanger said, "OK."

Taylor was shocked by the offer.

And, apparently,
so was Fox President Spyros Skouras.

In fact, Skouras commissioned
a questionnaire

to go to all the film owners
throughout the world,

asking, would you rather have
Elizabeth Taylor or Audrey Hepburn?

Came back Elizabeth Taylor,
hands down.

A million dollars was a lot of money
for the struggling studio,

but Skouras was
an exhibitor at heart

and he trusted the opinions
of the theatre owners he serviced.

The motion picture
casting achievement of the year

is about to become a recorded fact,

as Producer Walter Wanger introduces

Elizabeth Taylor to 20th Century Fox
Executive Producer Buddy Adler.

The occasion - the Hollywood signing
of the exotic Elizabeth

for the most exotic role
in her career.

And the role? Cleopatra. The most
fascinating woman of history,

who exclaimed, "There's beggary
in the love that can be reckoned."

Whom Antony called
"my serpent of the Nile,"

of whom Shakespeare wrote,
"Age cannot wither her,

"nor custom stale
her infinite variety."

What a role!
And Liz is the gal to do it justice.

On October 15th, 1959, 20th Century
Fox became the first studio ever

to pay a star one million dollars
for a single role.

There are two misfortunes in life -
not getting what you want

and getting what you want.
And we got what we wanted.

Whatever fears Skouras had about
Elizabeth Taylor's hefty pay cheque

were quelled
by his heartfelt notion that

with her as Cleopatra,
Fox would have a guaranteed hit.

Stars are worth money because

studios need something
that will give them some security,

some hope of security
that this will work.

Taylor's final contract
made two more demands -

Cleopatra had to be
filmed out of the country,

and Cleopatra had to be
shot in Todd-AO,

a 70mm- technology
developed by her late husband

and which she now owned.

Skouras happily obliged
his glamorous new star.

While Taylor finished
her final MGM film,

Butterfield 8, co-starring
Laurence Harvey and Eddie Fisher,

Wanger and Skouras hired
veteran screen-writer Nigel Balchin.

Now all Fox needed was a director.

Skouras and Wanger
turned to their friend,

62-year-old Rouben Mamoulian,
a veteran known for

his romantic film-making, but not
for directing large-scale epics.

Rouben Mamoulian
was an old-time director,

mainly famous for films
he had done in the '30s.

He was known for having been able to
coach great performances

out of temperamental beauties
like Greta Garbo.

He was also a friend of
Spyros Skouras, a personal friend.

So he got the job.

He was a great visual artist.

Cleopatra now had a star,
a director and a script -

and 20th Century Fox
had a lot on the line.

Spyros Skouras knew Cleopatra
would either be the hit Fox needed

or a disaster that would
close the studio doors forever.

With one million dollars
of Cleopatra's budget

earmarked for Elizabeth Taylor,
Spyros Skouras

was eager to keep a tight rein
on the film's escalating budget.

To satisfy Taylor's request that
Cleopatra be filmed abroad,

the studio searched for
exotic locales.

Fox considered Italy and Turkey,
before finally choosing

Pinewood Studios in England
as the setting for Ancient Rome,

despite the serious objections
of Director Rouben Mamoulian.

Everyone considered the weather.

London has great studio facilities,

Pinewood and other studios,

and they had all the resources
to make a big movie.

At that time, the government
had in place tax concessions

called The Eady Plan, whereby
if a certain amount of British

crew and cast were involved in
the production,

then the British government will put
up monies towards the production.

With the government
subsidising his production,

Mamoulian had to build his cast

from the pool of
available British talent.

At Taylor's request,
44-year-old Peter Finch,

a veteran film and stage actor,

was hired to play Caesar.

The pair had worked together on
the 1954 film Elephant Walk.

For the role of Mark Antony,

Mamoulian turned to
32-year-old Stephen Boyd,

an actor who had won acclaim for his
role as Messala in 1959's Ben-Hur.

As Caesar's opportunistic nephew
Octavian,

Mamoulian cast Keith Baxter,
a respected British stage actor.

It was going to be
eight weeks in England,

and it was �2,000 a week,

which was a king's ransom to me then

and was a lot of money.

With much of the cast and crew
now in place,

a small fortune was spent
testing various costumes.

The Pinewood footage
shows in some very short scenes

Peter Finch
in uniform as the Roman general.

And he looks very commanding.

The money that was being shelled out
was absolutely unbelievable.

I had a very grand robe
for when I became

Imperial Caesar at the end.

And it was embroidered with
oak leaves and laurels

and it was embroidered by
the women that had...

the seamstresses who had embroidered
the Queen's coronation gown.

And they had made...
they had made four of them.

On the Pinewood Studios' backlot,

$600,000 was spent transforming
20 acres of English farmland

into the port city
of Alexandria, Egypt.

They'd flooded this huge area,

only to a depth about 18 inches,
but it looked like

this great harbour, and
these huge temples and statues.

The job was so vast that
the production couldn't find

enough plasterers in the small town

of Iver, Buckinghamshire.

The art department resorted to
running ads in cinemas

around the country, in an effort to
recruit more construction workers.

On September 28th, 1960,
the cameras finally rolled.

But the first day of principal
photography was a disaster.

The British Hairdressers' Union
disrupted the shoot by walking out

in protest over the presence
of Hollywood hair stylist

Sydney Guilaroff.

The union pointed out that
contractually,

only its members
could work on the film set.

Elizabeth Taylor insisted on him

without checking with English
regulations, which stated by law

that if they were to participate
in the Eady Plan,

they had to provide those services.

She said,
"No, I'm not going to have it."

Eager to avoid the heavy cost
of lost production days,

Wanger struck a deal with
the union -

Guilaroff would do Taylor's hair

at her hotel and the union
would touch it up on the set.

But with the settlement of
one crisis came yet another -

weather.

THUNDERCLAP

London was an insane place to have
done this, from the start.

A lot of Cleopatra
was filmed outdoors,

and they could never shoot.

I mean, they'd start to,
they'd get everything ready

and it would rain just a little.
But that would be enough to kill it.

The conditions, the weather
conditions were impossible.

These huge temples and statues,

all peeling, papier-mache.
Every day, they would peel down.

Every morning, the crew would be
painting them up again.

The severe weather also had
a troubling effect

on Elizabeth Taylor.

She never was well enough

to really appear in other than
costume tests for this film.

She was carried to the set,
she was so ill.

She'd do a few costume tests
and then be carried back.

And she was always,
always sick during this time.

Taylor's illness slowly turned from
a slight cold into a raging fever.

The star was quickly
attended by several doctors,

including the Queen's physician,
Lord Evans.

With Taylor unable to work,

Mamoulian began to shoot
around his star.

They were looking for
things to film.

There was a lot to film for Finch
and some with Stephen Boyd,

exterior stuff, but they couldn't do
any of the interior scenes

because his scenes were mostly
with her, obviously.

And, action!

But they had me to film.

So I did these scenes,
but very little.

I shot a part of my arrival
in Alexandria

after the defeat of Antony.

The focus of the film
was so much on Cleopatra,

there was so little that could
be done that she wasn't in.

Desperate to make
the best of a bad situation,

Mamoulian focused on using
the grand Alexandria set

and the army of extras
hired for the film.

Can we have wardrobe
come back out, please?

On October 14th,

the director gathered 1,000 extras
in the frosty British night

to film this scene - Caesar's
evening arrival in Alexandria.

Bad choices, worse luck,

and Elizabeth Taylor's
persistent illness

were beginning to cost
the studio dearly.

By October 24th,
Fox executives estimated

that the production was losing
over $100,000 per day.

Spyros Skouras used to come down,
wander around with his worry beads.

Well, you're meant to...

I think you're meant to just
sort of lightly fondle worry beads.

Well, he was twirling them
like a stripper with her tassels.

And one day, they just broke,
went all over.

"My worry beads!
They're my worry beads!

"For God's sake, get my worry
beads!" Didn't save the picture.

By November 18th, no more scenes
could be shot without Taylor.

And to continue without her,
the script had to be rewritten.

The re-writes were arriving
every day in pink pages,

blue pages, green pages,
like a snowstorm.

And when one went down
to do these costume tests,

Mamoulian was sitting in a corner
with some scribe,

you know, writing some.
It was... That was a nightmare.

There came a point where
they had to shut the production down

because they had shot
everything they could

without Miss Taylor's
presence on set.

Production was put on hold
for one month -

time enough for Taylor to recover

and for the script to receive
a badly needed rewrite.

To that end, the studio brought in

Academy Award-winning screenwriter
Nunnally Johnson.

He was paid $140,000 dollars
to polish the script.

But Mamoulian also wanted
his own writer on board,

leaving Johnson with nothing to do
but cash his hefty pay cheque.

In January, 1961, production resumed

as Elizabeth Taylor returned from
her vacation well enough to work.

Among the first shots filmed
was this test,

set inside a warm Egyptian spa.

But in sharp contrast to
Cleopatra's steamy bathtub

was the cold rain
of the English winter.

It quickly ate away at
the desert vegetation

that had been brought in
to evoke ancient Egypt.

The palm trees, which had been
imported, kept wilting

and every day, flight loads
of more palm tree palms

were actually being imported
to replace the wilting ones.

The weather took its toll on the sets
and they started to disintegrate.

Such production disasters
caused delays

and fuelled tensions on the set,

especially with co-star Peter Finch.

'It got to a point where
he thought he was going mad.

'He would spend long hours
in the green room at Pinewood

'and get absolutely paralytic drunk.

'It got to a point where he'd just
sit in the middle of the green room'

and just stare for hours on end.

These delays also gave the stars
time to reconsider the script,

which Taylor AND Finch
found appalling.

Mamoulian liked that script.

Elizabeth Taylor
and Peter Finch didn't.

They couldn't act it.
It was un-actable.

Once again using her clout,

Elizabeth Taylor demanded
a script meeting with Mamoulian.

She didn't want her first post-MGM
vehicle to be a second-rate B-movie,

which is where she felt
the production was headed.

Taylor knew that
if the movie failed,

neither the script nor the director
would be blamed,

fingers would be pointed at
the million-dollar actress.

But Mamoulian defended his script

and, in a bid to gain more time,
the director threatened to resign.

To assert his authority,
Mamoulian put forward an ultimatum,

thinking that he would be backed
by other people, and it backfired.

He called bluff with Skouras

and didn't expect to be fired.

After years of dealing with moguls
like Louis B Mayer, her boss at MGM,

Taylor knew how to play hardball.

She told the studio to accept
the director's resignation

and, to Mamoulian's surprise,
they did.

On January 18th, 1961
Rouben Mamoulian left the production

having spent 16 weeks
and $7 million

and leaving behind
only ten minutes of usable film.

Once again, 20th Century Fox
faced a major decision -

shut down the production for good,

or salvage the film.

Spyros Skouras decided to
roll the dice one more time.

Why didn't we give up when we had
spent relatively little money?

Because in the movie business,
and particularly then,

naivete and compulsive behaviour
were the order of the day,

and the inmates ran the asylum.

And so we never gave up
on an obsession,

because we were fuelled by the idea
that every obsession makes money.

The first step in salvaging
20th Century Fox's huge investment

in Cleopatra was to hire
a new director.

But the studio's choices

were limited by
Elizabeth Taylor's contract.

Fox had given her another thing
that no actor had at that time,

which was director approval.

It was unheard of.

And she said,
"I approve two directors,

"George Stevens or Joe Mankiewicz."

With George Stevens busy directing
The Greatest Story Ever Told,

Fox executives turned to
Joseph L Mankiewicz.

Mankiewicz had successfully directed
Taylor in Suddenly Last Summer,

proof enough for the studio
that he could work with the star

and help her deliver
an outstanding performance.

The director was also
well qualified to rehabilitate

Mamoulian's troubled script.

A decade earlier, Mankiewicz
had won back-to-back Oscars

for both writing and directing
A Letter to Three Wives

and All About Eve.

But in 1961, the 52-year-old
director was enjoying

the peace and quiet of actor
Hume Cronyn's island getaway.

He was holed up in his room,

and the telephone rang, and it was

a call from Hollywood

and they asked for Joe
and I said, "He's working,"

and the voice said, "I don't care
if he's on the can. Get him!"

His first reaction was,
"No, no, no, no."

But they kept calling back
and begged him to at least

have a meeting with Skouras.

Skouras knew
every man had his price,

but this one proved to be
exceptionally high.

The Fox President made Mankiewicz an
offer worth several million dollars.

And Joe, in one of the worst
decisions of his life,

said, yes, that he would.

Hollywood clamoured with the news
that the acclaimed director

had signed on to helm the film.

It was the first good press

the production had received
in a long time.

The big thing for all of us was that

it was now going to be
Joe Mankiewicz who would write.

So the buzz was that
the picture would be

one of the biggest pictures
of all time.

On February 1st, 1961,

less than a month after
Mamoulian's departure,

Joseph L Mankiewicz
arrived in London

to take the reigns of Cleopatra.

Joseph L Mankiewicz was
on his way to his hotel

and saw the Pinewood sets,
stopped off and saw them,

and it has been reported that he
felt they were a garish nightmare.

But bad weather continued
to plague Elizabeth Taylor.

recovering from the Asian flu

when the illness
unexpectedly turned into pneumonia.

She was being cared for by a nurse

and she went into a coma
in the hotel.

And the nurse called the hotel

and there was a party for
a young medical student going on

and at that party was one of the top
resuscitationists in London,

and he rushed up
and tried to resuscitate her.

As the actress slipped
in and out of consciousness,

she was rushed to The London Clinic

where doctors struggled
to revive her.

It was even reported
in papers that she had died,

she was given an hour to live.

Skouras called up sobbing,
"My God, how did it happen?"

The ailing actress did not die,

although during one close call,

surgeons had to perform an emergency
tracheotomy to save her life.

Faced with a long recovery, Taylor
returned to the United States.

It was the kind of news
that made headlines,

even though Fox executives could
only see more red ink.

NEWSREEL: Back in the United States

after her brush with death
in London,

Elizabeth Taylor is carried
from her plane in a wheelchair.

The arrival at New York of
the actress, who was in England

to play the title role in
Cleopatra, is graphically filmed.

She takes the excitement
like the true trouper she is,

though she's still weak
from her bout with

an exceptionally virulent
form of pneumonia.

And now representing
a triumph for the will to live

she's off to California for a long
rest in which fully to recuperate.

In a certain way her illness caused
Dad to go on with the script.

He thought, "I have enough time,"
which of course he didn't.

Instead of patching and polishing
Rouben Mamoulian's awkward script,

Mankiewicz decided to
start from scratch.

As he wrote, Taylor's brave struggle
to recover her health

earned her the forgiveness
of her harshest critics

and the recognition of her peers.

On April 17, 1961,
Elizabeth Taylor received

the year's Best Actress award for
her performance in Butterfield 8.

BREATHLESSLY: I don't really know
how to express my gratitude

for this and for everything.

Some critics speculated
that the statue was given more for

her ailments than her acting.

You've now got
an Oscar-winning talent.

That's as close to a sure thing as
you are going to get in an industry

where there's almost constant
anxiety and terror about

what the next disaster
is going to be.

Taylor's Oscar
offered Skouras further hope

that Fox's investment in the actress
would pay off.

But the studio chief's
improved outlook vanished

when insurance companies refused to
cover the chronically ill actress.

They suggested alternate stars
to the studio,

including Marilyn Monroe.

Often when a star is uninsurable it
means your potential for trouble

is that much greater

and obviously there's
a huge risk in going forward.

But with over $12 million dollars
already committed to the project,

Fox had no choice but to press on.

As Taylor prepared
to return to work,

Mankiewicz began echoing
sentiments expressed months earlier

by Rouben Mamoulian -

London could NOT double
for Rome OR Egypt.

Elizabeth Taylor's husband, Eddie
Fisher, also pushed for a change.

He felt a warm climate would
bolster his wife's fragile health.

Fox gave in.

The London set was closed

and the studio agreed to consider
other, warmer locales.

NEWSREEL: Now as the film is not to
be made in England after all,

the set is being dismantled.

But the fall of Alexandria here
is not the end of the story.

The film must be made.

This ancient city
must rise again elsewhere.

It was all for Cleopatra.

They weren't sure where
they were going to shoot it.

Was it going to be in Hollywood?
They thought about that for a while.

Would they build the whole thing
on the Fox back lot?

That was scrapped. They felt that
by going to Rome, I think

Elizabeth wanted to have it done
in Rome too, so we went to Rome.

As it had 2,000 years earlier,

Rome once again played host
to Cleopatra.

The production moved to
Cinecitta studios,

located just six miles
outside the city.

Here, Mankiewicz worked
24 hours a day, seven days a week,

overseeing every facet
of pre-production,

including the massive
construction of sets

by production designer John DeCuir.

My father called him
The City Planner.

And Johnny loved to build big.

And he was a brilliant man.

Johnny built a Roman Forum
which I think is

three times the size of
the real Roman Forum.

Because it was just thought that

the real Roman Forum
was just not impressive enough.

The scope of construction was
so vast that Cleopatra caused

a country-wide shortage
of building materials in Italy.

The sets weren't only
grand in scale.

Every detail was attended to,
no matter the cost.

They had used actual gold leaf,

to create the figures
of the weird birds

and mythological characters
in a deep blue.

So this glittering gold and
the deep blue was breathtaking.

Adding to the pressures
of pre-production,

casting changes became necessary
when after nearly a year of waiting,

Peter Finch and Stephen Boyd
bowed out of the revamped project

citing previous obligations.

Laurence Olivier was
the next thought for Caesar,

but he had a commitment
with the National Theatre.

Then came Rex.

He had done several films with Rex
and he loved Rex as an actor.

Rex Harrison jumped at the chance
to work with Mankiewicz again.

The 53-year-old actor had been
a disciple of George Bernard Shaw

and it was Shaw's
Caesar And Cleopatra

that would serve as the basis
for the first part of the story.

With Taylor's health recovered,
and Harrison on board,

the only principal role left to cast
was that of Mark Antony.

Mankiewicz turned to
36-year-old Richard Burton

who had starred in Fox's 1953 hit,
The Robe.

The Welsh-born actor was known
as a gifted performer

with a dynamic screen presence.

Richard was playing King Arthur
in Camelot on Broadway.

So Fox then approached
the management of the musical

and said we are prepared
to buy Richard's contract.

And the management of Camelot,
being no fools,

quoted some absolutely
gigantic sum of money.

After spending a quarter of a
million dollars to pry Burton loose

from his Camelot contract, the
international cast was rounded out

with established character actors,
including Roddy McDowall,

Martin Landau,

Caroll O'Connor and Hume Cronyn.

There are very few dates I remember,
but that one, I remember.

We arrived together
on September the 19th.

I was signed for ten weeks.

It turned out that I was there
ten-and-a-half months.

Added to the mix were dozens of
production technicians from England
and the United States.

Thousands of extras were hired
to prepare for

the massive battle scenes
and intricate choreography.

Over 20,000 different costumes
were issued,

only a fraction of which
had been salvaged from
the Pinewood Studios production.

Almost immediately,
producer Walter Wanger faced
yet another labour dispute,

when the female extras complained
about their overly tight

and revealing costumes.

By June 6th,
the production was spending
nearly $70,000 per day.

Cleopatra was already $3 million
more expensive than Ben Hur.

When I first got there the picture
was going to cost $11 million

and Spyros Skouras
was flying back and forth

and every time he went to New York
it went up a million.

By the time he came back,
it went up another million.

So then it was 13 million,
then it was 15 million.

Wanger and Mankiewicz suspected
Skouras was hiding

the escalating cost
from Fox shareholders,

for fear of being blamed,

or perhaps being removed from power.

Joe and Skouras
were having a meeting

and he wanted a budget.

And he'd looked at it and said,

"I can't go back to America
with this budget. It's too much."

Joe said, "No, it's going to cost
much more than you have down.

"And if you want to call...

"I think you should call
the production off right now.

"Here. Spyros,
here's the telephone."

Well, of course, he didn't.

The wily studio chief did, however,
pressure the production accountant

to draft a budget
that appeared smaller,

so that he could take it back to
the Fox shareholders in New York.

The production accountant said,
"I cannot give you such a budget",

so he said, "Fine, you're fired."

So he was put on
the next plane back

and, presumably, another
accountant was obtained

who was far more flexible.

Before leaving Rome
on September 21st 1961,

Spyros Skouras pressured Mankiewicz
to begin filming immediately.

The Fox president needed footage

to show board members
that progress was being made.

But Mankiewicz hadn't even written
half of the new screenplay.

My father was not a quick writer,

and he wrote very long
and in longhand as well,

and he never had a chance
to cut the script.

He never had a chance to go from
a first draft to a second draft,

much less a third draft.

The director begged Skouras
to give him more time to write,

but the studio president
couldn't afford to wait.

On November 17, 1961, Elizabeth
Taylor would go into overtime

at a rate of $50,000 per week.

The temptation is pretty strong,

especially if you need a big
movie and time is running out,

you say, all right, let's just go

and solve this problem
as we're going.

It's like the worst
possible scenario.

Roll 'em!

On September 29th, 1961,

more than a year after
the false start in London,

Joseph L Mankiewicz
rolled cameras on Cleopatra.

Elizabeth Taylor showed up for work
in good health and in high spirits.

We've gotten off to a bad start,
haven't we?

I've done nothing
but rub you the wrong way.

I'm not sure I want to be rubbed
by you at all, young lady.

Over the following weeks,
most of the scenes

focused on the relationship
between young Cleopatra

and her mentor, Julius Caesar,
played by Rex Harrison.

Oh, it's you.

You, erm, wanted to see me?

I summoned you yesterday to
an audience in my throne room.

I was told I was not
permitted to go there.

For one thing, it's too close
to the quarters

occupied by your brother, Pothinus,
Theodotus and the rest.

I will not be told where I can go
and where I cannot go.

Since there's obviously nothing
that you want of me...

Except my throne!

Rex was an ideal Caesar,
in many ways.

He had the authority,

he had the charm.

And in the situation that he
was put in as Caesar, in the film,

of being the older lover,

I think he would have
all the qualities required.

I've had my fill
of the smug condescension

of you worn-out pretenders, parading
on the ruins of your past glories.

It's the future that concerns me.
If it is, keep out of my affairs
and do as I say. Do as you say?

Do as you say? Literally?

As if I was something
you had conquered.

If I chose to regard you as such.

Am I to understand then

that you feel free to do
with me whatever you want,

whenever you want?

Yes, I want that understood.

Watching the dailies in New York,
Spyros Skouras was reassured.

Cleopatra would be worth all
the money he was pouring into it.

On the other side of the globe,
Mankiewicz squeezed every minute

out of his exhausting production
schedule to work on the script.

He even scribbled new scenes
between takes.

But with so little of
the screenplay finished,

scenes were shot
in the order written,

not the order that maximised the
use of actors, locations or crews.

Sets that had been built on overtime
sat vacant and unused.

The chaotic schedule
even caused many actors

to sit around waiting for work.

I'm always amazed.

Actor and crew alike
spent months at high salaries

and prodigal expense accounts
doing nothing.

To relieve their boredom, many
cast members toured Rome's sights

and indulged in luxurious get-aways
available in the countryside.

I was obviously going to
be there for a long time

and I bought a car and
on weekends I would escape,

either up or down the coast,
and hope to regain my sanity.

As Fox executives read
the daily shooting schedules

they began to worry that Cleopatra
was spiralling out of control.

Wanger and Mankiewicz
defended their actions,

claiming they were making
a ground-breaking motion picture

that would bring audiences
back into theatres.

I find...

one can tell more about
the quality of merchandise

by examining the backside first.

He thought that, whatever it cost,
it would be worth it,

because the film would eventually,
you know, make the money back.

But the truth was,
much of the money being spent

was not making its way
to the screen.

Waste was tremendous,
just simply tremendous.

Everywhere you looked was waste.

We had a mineral water bill

that was like a quarter of a million
dollars a week or something.

I mean, it was phenomenal.

Minor hand props crafted to
the finest detail at tremendous cost

were tossed aside
at the actors' convenience,

including a walking stick
made for the character of Theodotos,

played by Herbert Berghof.

It was beautiful.

Anyway, Herbert, at the end of,
you know, a couple of run-throughs

walked up to Joe and said,
"Joe, do I need this stick?"

And Joe said, "No, get rid of it."

Herbert came up to me after
the scene was shot and he said,

"That's what's wrong
with this picture, Martin."

I said "What?" He said, "This
picture is full of such sticks."

For her dressing room, Elizabeth
Taylor was given an entire building

outfitted to meet her every need.

And although she wasn't in
Hollywood, Hollywood came to her.

The chilli from Chasen's,
air-expressed to Rome,

all the stuff that went on.

But Taylor wasn't the only actor
to be given the royal treatment.

I think at one point we looked

and there were something like
40 or 50 cars and drivers.

I mean, it was just...

You were nothing if you didn't
have a car and driver.

When the company attempted
to cut back on drivers,

including Rex Harrison's, the actor
threatened not to show up for work.

His chauffeur was
quickly reinstated.

I think as a star he probably felt
obliged to compete at that level

and I think anybody who didn't
fight for the appropriate car,

the appropriate villa
or the appropriate billing

probably got kicked around.

The set of Cleopatra became
a mecca for Rome's social elite

and for visiting dignitaries
from around the world.

The big event of the season
was the film getting made there.

I mean, there was a regular sort of
squadron of visitors all the time,

watching what was going on and
parties were given for everybody.

And the local press, you know, was
following everybody's every move.

Art Buchwald came onto the set.

He wrote, when you're in Rome,
you have to see the Coliseum,

you have to see the Roman Forum, you
have to visit the set of Cleopatra.

Unfortunately the first two
are readily available,

the third is very difficult.

And he would go through the
machinations you had to go through
to get on the set.

Back in Hollywood,
Fox executives loved the attention

the press had begun
lavishing on the film.

They began fuelling the flames

by inviting reporters
from around the world

to witness the spectacle
that would be Cleopatra.

But what many of the reporters
witnessed instead

was a lesson in mismanagement.

Fox president Spyros Skouras'
concerns grew

as he read the daily budget reports.

Executives were dispatched to Rome
with orders to trim costs.

They scoured Cleopatra's budget
and offered suggestions.

A letter appeared.
pinned to the notice board

in the dining room in the studios.

This notice said,

"To the cast and crew of Cleopatra,

"in the interests of economy,

"we would encourage you

"to share your paper cups."

As a former executive,
I can inform you,

executives never have
a positive effect.

They have a negative effect.

On the other hand,
they have a job to do.

But for some, the micro-management

and budget pressures
proved too much.

Dad had a wonderful, wonderful
production manager

who had been with him for years

and done many pictures with him,
named Johnny Johnston,

who unfortunately died
of a heart attack,

principally, I think, from
the strain of this movie.

Johnston's job - tracking costs -
would remain unfilled for months.

In the meantime, money poured out of
the production virtually unchecked.

When you have a film
of that size budget

the money goes somewhere,

and not always on screen.

Some of it went into private hands.

We would have production meetings
in the morning,

corruption would be discovered,

schedules, as they used to say,
completely ignored,

and oh, yes, it'll all
be taken care of.

And, of course, nobody
ever followed up.

Hunting down corruption
fell to Walter Wanger,

but the producer wasn't even aware
of what was going on, on set,

let alone in the ledger books.

Walter would take me gently by
the arm and lead me away and say,

"Now, tell me, what does Joe
really feel about blah-blah-blah?"

Or what did Elizabeth say that...

I didn't know what Elizabeth said.

What Joe really felt I did know,
but I wasn't about to reveal it,

so I would double-talk,

and he recognised this
as an evasion tactic

and so I became
the bearded hypocrite.

What Cleopatra needed was the A-type
personality in the role of producer

and he just did not have
the health to carry it off.

And so, consequently,
he retired from the fray

and let Mankiewicz do the battling.

Wanger became a figurehead,

while Mankiewicz, in addition
to his other duties,

became the de facto producer.

He, generally speaking,
wrote at night

after we had wrapped
at the end of the day.

By that time, of course, he had
been the producer in the morning

and the director during the rest of
the day, and was frankly exhausted.

I've never seen a man
work harder in my life.

He was so determined
to make this a good movie.

I am the Nile.

I will bear many sons.

Isis has told me.

My breasts are filled
with love and life.

My hips are round and well apart.

Such women, they say, have sons.

While Mankiewicz
toiled over the script,

many of the film's key actors
continued to remain idle.

After working one day
in four months,

Roddy McDowall decided to
take matters into his own hands

by placing a call to former 20th
Century Fox chief Darryl F Zanuck.

I called Darryl up
in Paris and said,

"Please, give me anything.

"I want anything! I have to work."

Zanuck offered both McDowall
and Richard Burton cameo roles

in his production of
The Longest Day,

which was then shooting in France.

Have you ever killed a man?
I mean, face-to-face?

No.

Neither had I.

Face-to-face.

Compared to Cleopatra's
staggering budget,

The Longest Day's
$8 million bottom line

seemed almost minuscule.

But Zanuck was beginning to feel
the financial pressure from Fox.

When he asked the company
for $2 million more

to complete his masterpiece,

he was turned down by
Fox president Spyros Skouras.

Zanuck was angered at the refusal.

He was also fearful that
the company he'd co-founded

would sink under the weight of
the runaway production in Rome.

Zanuck was also getting
reports from the set

suggesting that Cleopatra
wasn't only taking a toll on Fox,

it was all but killing its director.

It got to a point where, quite
literally, I thought he might die.

I thought one day on the set

with people grabbing at him
in all directions.

"What should we do about this?
How would you like that?

"What colour should this be?

"How do I get there?

"Where have I been?"

The endless questions that came
from the crew, and the cameraman,

and the actors, you know, and you're
pulled in ten different directions,

it becomes almost
impossible to concentrate.

Then you have to go home
and sit down and write,

and the turmoil was, erm... Uh!

He finally wound up getting
an injection in the mornings

to get him going,
sometimes another one after lunch,

and a shot at night
to get him to sleep.

But in spite of exhaustion,
chaos and intense pressure -

Mankiewicz was proud of
what he was accomplishing.

He considered many of the filmed
scenes to be among his best work.

In the name of the senate
and the people of Rome

and by their will.

Isis herself would surrender
her place in Heaven

to be as beautiful as you.

You're not supposed to look at me.

No-one is.

If they aren't looking,
how do they know I am?

You should be kneeling.

Would that do, before
all these visiting kings?

Making believe that
they're not watching us.

You have such bony knees.

Not only bony, but unaccustomed
to this sort of thing.

On October 16th, the director
prepared for what he hoped

would be the biggest spectacle
in cinematic history,

Cleopatra's entrance into Rome.

Every detail was attended to
by craftsmen -

from costumes to elaborate props,

and intricate dance routines,

the sequence would be
the most complex to date.

The script called for
the Queen of the Nile

to ride through the Arch of Titus

atop a 28-foot tall Sphinx
as thousands of extras cheered.

But as cameras prepared to roll,

a woman riding one of the elephants
slipped and fell to the ground.

An elephant's skin
is not silky smooth.

In fact, it's like rough sandpaper.

And the girl had practically
no clothing on. So as she...

She went down and it took
most of the skin off her bottom

and the back of her legs.

After the injured extra was given
medical attention and replaced,

the director finally
called, "Action!"

And as they came along,

Mark Antony was to grab the girl,
embrace her,

and place her on
the next elephant that came by.

And what he didn't know was,
he grabbed her...

She weighed 40 pounds more.

And he staggered back

and suddenly found himself
up to his navel in azaleas.

The bad luck continued

when the director of photography
announced a problem of his own.

A critical problem

that would send the entire
production into a tailspin.

Leon Shamroy,
the very crabby cameraman,

said, "No, no, we can't shoot this,
we can't shoot this.

"The light's coming from the wrong
way, the shadows are wrong,

"everything else is wrong."

To the untrained eye,
the footage shot looked stunning,

but to Shamroy's eye
the sequence was filled

with slight imperfections.

Cleopatra's entry to Rome would
have to be delayed six months,

until the Roman light would
properly fill the mammoth set.

Luckily, there was
enough of the scene shot

to help Spyros Skouras
defend himself

to the Fox board of directors.

Skouras entered the meeting
fearing for his job.

But after screening selected
portions of the procession sequence,

the board's attitude toward
Skouras and Cleopatra had changed.

Cleopatra was the film that
would save 20th Century Fox.

But one of Fox's major shareholders,

former studio chief
Darryl F Zanuck, disagreed.

He warned the board that Cleopatra
was likely to sink the studio

and he let it be known that
he was not about to let that happen.

By the end of 1961, there was
plenty of reason to be optimistic.

Cleopatra was at last
on a steady schedule,

almost half of the film
had been shot,

and Mankiewicz was writing
a rich, visually compelling story.

On January 5th, 1962,

Cleopatra's cast and crew returned
from a brief Christmas hiatus.

Mankiewicz filmed this sequence,

where Julius Caesar confides
his desire to become Emperor

to both Cleopatra and Mark Antony.

They resent me.
To flaunt me like this.

They'll use it to keep from you
that which is already yours.

By divine right, is that not so?

Yes, it is.

By divine right.

We shall have the senate, in its
deliberations, deliberate that.

It marked the first time
during the long production

that Elizabeth Taylor and Richard
Burton worked together in a scene.

Are you quite sure what it is you
want...so desperately?

I've always been sure.

And Caesar?

Does anyone speak him?

No. Good night.

The Hollywood star

and the Welsh-born actor
had met years earlier.

At that time, Taylor had found
Richard Burton brash and offensive.

But when Burton showed up for work
on Cleopatra that first morning,

Elizabeth was shocked to discover
another side to the actor.

The first day on the set,
Burton arrived

absolutely brutally hung-over.

So hung-over that he had the shakes.

And Elizabeth had to help him

raise a cup of coffee to his lips.

And she described him as all giggly
and boyish and childlike

and helpless and needy,

and it brought out
the mother in her.

She found it...
Her word was "endearing".

That here was this titanic actor,
intellectual...a needy child.

Tell me how many have loved you
since him? One, ten? Anyone? No-one?

Have they kissed you with Caesar's
lips, touched you with his hands?

Has it been his name
you cried out in the dark?

And afterwards, alone,
has he reproached you

and have you begged
forgiveness of his memory?

You come here then running over
with wine and self-pity

to conquer Caesar.

So long now you filled my life.

Like...

Like a great noise that
I hear everywhere in my heart.

I want to be free of you.

Of wanting you.

Of being afraid.

Then Caesar would not permit it.

Then I will never be free of you.

The electricity, both on-screen
and off, was instant and palpable.

The pair soon became secret lovers -

a situation not
unfamiliar to Burton,

who, despite his 13-year marriage
to Sybil Williams,

boasted of frequent affairs
with his leading ladies.

Richard was the quintessential
husband about whom people say,

"Yes, he fools around but he always
comes back to her in the end."

That had been true. He was famous
for having supposedly slept with

every leading lady
he'd ever played with.

But he always went back to Sybil.

But secrets don't last long
on film sets

and as the affair intensified,

it became known to everyone
in the cast and crew.

I got to work that morning early

and Elizabeth was in
the make-up department.

And no sooner did I sit
in the make-up chair

than Richard came in,

gave her a big old smooch
and sat in the chair next to me

and I saw all of this
in the mirror and I said,

"Oh, my God."

Lovers always want so much
never to have loved before.

It's possible, you know.

It becomes a game.
Who loved whom first? I did.

If you noticed me
at all in those days,

you were probably terrified of me.

SHE LAUGHS
And with good reason.

Everybody knows Romans
cut up little children

and feed them to their horses.

We'll make this our beginning.

Beginning with tonight,
we must never envy Caesar.

Or anyone.

Anything, again.

One thing that happened was
in one of their first love scenes

it ended and Joe Mankiewicz
said, "Cut!"

He said, "Cut!" And then
he finally had to go, "CUT!"

And then they got up
and everybody of course laughed

and you know everybody knew
by then what was going on.

What I feel I should have felt
long ago when I was very young

and I could say to myself
that this was how love was

and how it would be.

But to have waited so long,

to know so suddenly, it's like...

How it hurts.

How love can stab the heart.

In spite of the lovers'
openness on the set,

their spouses seemed
oblivious to the romance.

But Fox executives did notice.

They feared news of the illicit
affair would repel audiences

and hurt any chance the film had
of recovering its mammoth costs.

We were supposed to try to
keep it quiet, which was ridiculous.

Once it broke, and broke wild,

there was no stopping it.

When news of the liaison leaked out,

Taylor and Burton became prime
targets for Italy's eager paparazzi.

Gossip was bought, sold
and published everywhere.

And any photo of the two lovers
was worth a small fortune.

Even the mainstream news outlets
began to print the story.

One day Joe was so fed up
he said, "Look boys, I'm going

"to give you the real scoop.

"Elizabeth's a beard.
Richard and I are in love!"

So there was a big scuffle
for a few minutes.

And the next day Richard came into
the set and kissed him on the lips.

Eventually, the mushrooming
press coverage

took a terrible toll
on Burton's marriage.

In March 1962, Sybil Burton
left Italy for England -

although the move only served
to fan the flames.

Reports of the affair

degenerated into personal attacks
on Elizabeth Taylor.

She was now being accused
of everything

from irresponsibility to immorality.

The Vatican got into the act too,

saying that she was a bad influence
on the world in general

and that her children
should be taken away from her.

She was denounced
on the floor of congress

because she had been born in England
and had dual citizenship,

as such, and several congressmen
wanted to take away her passport.

The affair was talked about,
joked about and parodied,

not only in the press,
but even on prime-time television.

You're always forgetting
my birthday!

I'm still wearing last year's snake.

What do you want -
new snake every year?!

Who do you think you are?
Liz Taylor?!

How about it?

You and I'll take that night boat
on the Nile, just the two of us.

Sure, just the two of us,
and a thousand slaves rowing.

Just my luck, one of them
will be Eddie Fisher.

For Eddie Fisher, the public
humiliation was devastating.

Eddie Fisher was
in really poor shape.

She described him wandering
the villa, not bathing,

staying in his pyjamas all day long.

Dad advised Eddie
to go back to New York.

He said Eddie's really out of
his league here with this romance.

I mean, these two people
will eat him alive -

they're so in love with each other.

On March 19th 1962,
Eddie Fisher fled to New York.

There, the public
seemed to have forgotten

his messy divorce
from Debbie Reynolds.

They now sympathised
with the singer.

But despite the off-screen problems,

Mankiewicz still had
a film to complete.

And one pivotal and costly sequence
was still unfinished -

Cleopatra's triumphant
procession into Rome.

On May 8th 1962,

six months after the aborted first
attempt to film the scene,

cameras rolled, as an endless parade
of extras in exotic costumes

swarmed through the Arch of Titus.

She got on top of
this 30-foot sphinx,

was drawn through the arch
and instead of yelling, "Cleopatra!"

like they were supposed to,
they went wild and screamed, "Liz!"

"Liz!"

That's when the sexual revolution
of the '60s was truly born.

Liz had conquered the Pope.

Despite endless delays and
millions of largely wasted dollars,

Cleopatra's procession
would become

one of the most impressive
sequences ever captured on film.

But back in Hollywood, 20th century
Fox wasn't doing nearly as well.

The studio was almost bankrupt

and, in order
to generate quick cash,

executives began rushing
films into production

whether they were ready or not.

One of these was
a Marilyn Monroe vehicle entitled

Something's Got To Give.

But on June 8th 1962, after
weeks of endless production delays,

aggravated by Monroe's
poor health and chronic absences,

Something's Got To Give
was shut down.

It was another $3 million loss
that Fox couldn't really afford.

Fox was in the worst
financial shape of its life -

no film, except Cleopatra,
was in production,

and that meant that the movie's
already swollen budget

was about to explode.

They had no place else
to put the overhead.

And Dad always used to joke,
we'd be driving out to the set,

and he would say, "Right now,
the head of Fox in Hong Kong

"is taking two hookers to lunch and
it's being charged to my picture."

I mean, there was
no other place to put it.

Studio executives ordered Wanger

and Mankiewicz to quickly
wrap their costly lead actress.

In a rush to complete
the intricate barge scenes,

the production company
relocated to Anzio -

a small coastal town
in Southern Italy.

On June 23rd, the cameras rolled...

Capturing clouds of purple incense
rising from burners,

and a gilded rigging that
had cost $277,000 to build.

By sundown that day,
Taylor was finished.

At last, the actress
could return home -

having earned a final fee
of $7 million.

But with several key battle scenes
remaining to be filmed in Egypt,

Fox executives once again
lowered the boom.

We were still at Anzio finishing up
some sequences there one day

when Walter Wanger
was given the word

that he was no longer on the picture

and that his per diem
is cut off and so on.

Wanger was crushed and humiliated.

In an effort to save face, he begged
Skouras to let him stay on in Rome,

at his own expense, to the very end.

Being taken off the payroll
of the film didn't trouble him.

He was going to finish this film
come hell or high water.

Desperate for revenue,
Skouras and the Fox executives

next set their sights on
The Longest Day,

Darryl Zanuck's epic
World War II film

about the Allied
invasion of Normandy.

They thought that if
they cut the film's running time

and rushed it into theatres,

they could raise the dollars
they so badly needed.

In a bid to save his film
and the studio he founded in 1935,

Zanuck armed himself
for the battle of his life.

On June 27 1962, Darryl F Zanuck
arrived in New York

for the quarterly meeting
of the Fox Board Of Directors.

It was one of the most amazing...

performances I've ever seen
in my life.

He hit them on an emotional level,
as the founder of the company.

And absolutely attacked them.

And after a couple of hours
of this tirade,

they were totally wiped out.

And he took over the company.
And that was as simple as that.

When the smoke cleared,
Skouras was out and Zanuck was in.

Joe Mankiewicz now had three months
to complete Cleopatra

before Darryl F Zanuck took over.

With time running out,

Joe Mankiewicz moved his remaining
cast and crew from Rome to Egypt,

where the story's battle scenes
would be filmed.

But the production's money
was also running out

and for the first time,
Fox refused to open its chequebook.

The battles scenes that were
planned, pressure was put on Joe

to somehow trim them back, to save
time and money, which we did.

Is there no-one who would grant
Antony an honourable way to die?

Rex Harrison believed in
the director's vision so strongly

that he even offered up his own
pay cheque, but Mankiewicz refused.

The director was now
a physical wreck,

dependent on injections
to keep him going.

They had given him so many shots.
Looking for a new place,

they accidentally hit his sciatic
nerve, and he couldn't walk.

And he would be dragged through
the sand and I thought, "Geez,

"God, this thing
is going to kill him."

Despite his intense pain,

the director completed principal
photography on July 24th 1962.

But, for the first time
since the production began,

the footage being shot betrayed
the last-minute lack of money.

Returning to Los Angeles in August,

Mankiewicz began the massive task
of editing Cleopatra.

For nearly a month
the director worked

largely without supervision
from the studio.

But as Zanuck began
asserting his power,

he shut down all but the most
necessary departments.

He also installed his son, Richard,
as head of production.

Cleopatra literally closed
the doors of that studio.

Everything was closed down.

They didn't have any scripts
that were worth anything.

Nothing.

Leaving his son
to oversee daily operations,

Zanuck concentrated on rebuilding
the studio's empty treasury.

One available source of revenue
was The Longest Day.

And despite the studio's
desperate finances,

a big, splashy premiere
was considered critical
to the film's success.

'The man responsible
for the gala premiere,

'Darryl F Zanuck
attends with Irina Demick,

'who plays the part of the
underground heroine
in The Longest Day.

'Now president of 20th Century Fox,

'The Longest Day was Mr Zanuck's
ultimate production

'before assuming his duties
as chief executive,

'a final effort which elevates
Miss Demick to stardom.'

I was with him
the night of the premiere,

and I was sitting right next to him,
in Paris.

He had Edith Piaf singing
from the Eiffel Tower.

What a night. What a showman he was.

Zanuck's epic was hailed as
a monumental achievement in
film-making

and The Longest Day would go on to
gross over $18 million dollars

in its first year of release.

But as Fox accountants waited

for the badly needed money
to trickle in,

the Hollywood studio
remained a ghost town.

There were no cars.
The commissary was closed.

Only the administration building
had a few offices that were working.

And there was the unit,
editing Cleopatra, that was it.

There was nothing on the lot.
No pictures in preparation.

Nobody under contract. No, nothing.

And it was really eerie to look at.

In one of the few buildings
that remained open,

Mankiewicz diligently continued
to cut Cleopatra.

Originally Joe Mankiewicz
wanted two movies -

Antony and Cleopatra,
Caesar and Cleopatra,

as indeed William Shakespeare
and George Bernard Shaw saw it,

and they would have been
three hours each.

Your gods and mine
go with you, Caesar.

The world, except for you,
is filled with little men.

Anthony, how will I live?

The same as I.

One breath upon the other.

Each bringing us one breath closer.

But when word of Mankiewicz'
ambitious editing strategy

reached Darryl Zanuck, the studio
chairman ordered the director

to combine the two movies into one.

More than two hours of script,
story and expense

would have to be left
on the cutting room floor.

I think the major rationale
from a studio head's point of view

was that Taylor and Burton,

this was the biggest romance
in the history of film.

And Zanuck said, "Look
if I put out Caesar and Cleopatra,

"in which Richard Burton appears
for about five minutes,"

for, OK, seven minutes, "and then
we wait another six or seven months

"and put out Antony and Cleopatra,

"what if these two people
aren't with each other any more?"

Mankiewicz was bitterly
disappointed,

but he had to bow to Zanuck's
inarguable logic.

On October 13th, 1962,
Mankiewicz flew to Paris

to screen his cut of Cleopatra
for Zanuck.

The film ran five hours
and 20 minutes.

As the studio chief
watched the film unfold,

he was not pleased with what he saw.

You will kneel.

I will what?!

On your knees.

You dare ask the proconsul
of the Roman Empire...

I ASKED it of Julius Caesar.
I DEMAND it of you.

Darryl just looked at him
and said that Antony is a weak man.

And Dad said, "Yes, he is, Darryl."

And Zanuck said to him,
"If any woman did that to me

"I'd kick her right in the balls."

Zanuck didn't only hate
Antony's character -

he was disgusted at what he felt
were excruciatingly long scenes

and amateurish battle sequences.

What Cleopatra really needed

was a Zanuck at the helm
from the beginning.

He was courageous about decisions.
He knew what he wanted.

He could rein in the egos.

He considered it his duty
to rescue Cleopatra.

Mankiewicz believed,
"What needs rescuing?"

Darryl F Zanuck believed
that movies were motion,

were moving pictures,
they were supposed to move,

so he hated length.

And he cut the film, and he brought
it into some usable length.

Soon Zanuck and Mankiewicz
were locked in a bitter struggle

over the nature and extent
of the cuts and revisions required.

The relationship between the two men
had never been a good one,

but now it was clear that
one of them would have to go.

On October 21st, 1962,

Darryl Zanuck shocked Hollywood
by firing Mankiewicz.

The press had a field day

and Mankiewicz played
upon their support.

He had this wonderful statement
when he was removed saying,

"Old Joe's worked in the
cotton fields for a long time

"and he knows when
Marse Darryl speaks."

I mean it was just dripping with,

with Addison DeWitt
out of All About Eve.

The studio boss and the dismissed
director were now embroiled

in a public brawl played out via
letters and newspaper columns.

But even an experienced
storyteller like Zanuck

could not make the jumbled
bits and pieces of story fit.

There had never been
an actual shooting script.

Frustrated, Zanuck found he needed
help to salvage Cleopatra.

He needed Joe Mankiewicz.

By the end of November
they were crawling back

to have him come
and do the rest of the thing.

He was persuaded that
somebody was going to do it,

so better he should do it
and save, you know,

save the film from
being disembowelled

by someone who
had never been there

and didn't know what the attempt was
for the various scenes and so forth.

For weeks, Zanuck and Mankiewicz
collaborated on cut after cut.

But, despite their differences,

there was one thing
on which both men agreed -

the film's opening battle scenes
looked cheap and unconvincing.

Reluctantly, Zanuck ordered
the sequence re-shot.

In February, 1963,

Mankiewicz reassembled
his cast and crew in Almeria, Spain.

Thousands of extras were cast,
costumed and put into position.

Zanuck made the trip too, overseeing
every aspect of the re-shoot.

The smoke of burning Roman dead
is just as black,

and the stink no less.

It was Pompey, not I,
who wanted it so.

Let what I have said be set down.

With the new footage under his arm,
Mankiewicz returned to Los Angeles

to complete the painful
task of cutting his epic film.

SOBBING: Antony!

But the process was a disheartening
one for the director.

Cleopatra would never be
a great film, he concluded,

but at least it might be a good one.

He was very upset and it was really
a very sad thing for him.

But he did the best.
He went on to the very end.

He wanted to put
as much as he could into it.

He's coming around broadside!

We've got him!

Collision course, we'll ram him,
board and destroy him!

By May, 1963,
the film's projected running time

was a mere four hours
and three minutes.

Still an epic length
by any standard.

The pacing was so different.

You'll also find two characters
that were almost totally cut out -

Egypt and Rome.

There was a lot of location
that just simply didn't make
the final cut

because all of the action
was around the principals.

Rufio. Tell the guards, please.

I am to be awakened just before dawn.

Of course.

And, Rufio.

If, for whatever reason,
the guard should forget

or misjudge the time,

will you yourself awake me?

The guards will wake you.

But if they don't?

Then I will, never fear.

I never fear.

My death scene wasn't in the movie,
the actual killing,

because I assure Mark Antony
the men will not desert.

Wake up in the morning
and the men have deserted.

And you actually see me
run the sword through me.

And because I have long arms,
I had little trouble with the sword.

Richard's arms were shorter,

so when he committed suicide,
there was a line added...

I always envied Rufio his long arms.

In the final version,
you find me dead.

You're not sure why I'm dead,

whether I was killed by the men,
or the enemy or did myself in.

So there was a little confusion.

Rufio!

But Darryl Zanuck didn't have time

to mourn the lost subtleties
of the story line.

Fox was eager to get the film
finished and into theatres.

'Elizabeth Taylor as Cleopatra,
siren of the Nile.

'Her stunning beauty
and notorious intrigue

'turned the tide of civilisation.'

Remember, remember.

I don't want you to forget me.
Please.

Forget? How?

I can never be more
far away from you than this.

The studio wanted to strike
while the public interest

in the Taylor-Burton affair
was still at its peak.

The premiere of Cleopatra
was scheduled for June 12, 1963.

As the film entered its final phase
of postproduction,

Fox began to craft a marketing
and promotional campaign

unlike anything seen before.

Motion picture history
in the making as Seymour Poe,

20th Century Fox vice president
in charge of distribution,

meets the press in New York.

The Rivoli Theatre in New York

has presented to 20th Century
Fox Corporation yesterday

a certified cheque,

which is the highest sum of money
ever paid

in the history of the
entire entertainment business,

for any attraction to be
exhibited by any means.

A $1,250,000 gesture of faith
that Cleopatra,

starring Elizabeth Taylor,
Richard Burton and Rex Harrison,

will be an all-time favourite.

Even at reserved seat prices,

advance sales of Cleopatra tickets
did phenomenal business.

By opening day, the film
was sold out for four months.

'This spring, Revlon brings you
the new Cleopatra look,

'brilliantly translated

'into the most exciting
and wearable look today.

'Today's Cleopatra wears
a combination of Sphinx pink,

'a vividly light pink
for lips and fingertips,

'and Sphinx eyes,
a new idea in eye make-up.

'Together, the most exciting look
in 2,000 springs.'

You know, this isn't
the most civilised look.

It says plainly that
you're still pretty basic.

Like this pink, Sphinx pink,

makes all other pinks
look positively pallid.

The studio's publicity machine
continued to make press

by churning out everything
from behind-the-scenes stories

to historical pieces
and articles on fashion.

'A collection of chiffon
evening gowns by Ceil Chapman,

'inspired by the costumes
of ancient Egypt

'in the time of Cleopatra.'

I used to spend hours drawing on
these incredible Cleopatra eyes.

I can't believe it
when I look at photos.

And... And everybody did that.

It was amazing to think about

how that kind of filtered
out everywhere.

Andy Warhol, for one,
considered Cleopatra

the most influential film
of the '60s for style.

Essentially, you have Vidal Sassoon's
geometric haircut coming out of it.

You have the pale lips,
you have the heavily made-up eyes.

Playboy Magazine's article
on the women of Cleopatra

offered even more proof

that the film had invaded
America's pop culture.

But while nearly all
the advance publicity

about the film was positive,
two books released that summer

did much to tarnish
the film's gilded image.

Written by Fox Studio publicists,
Nathan Weiss and Jack Brodsky,

The Cleopatra Papers included
the authors' private correspondence.

The book shed a harsh light
on the chaotic production

and offered backstage insights
into the Taylor-Burton love affair.

We got into a lot
of trouble with the book.

Nathan got fired by Stanley Kubrick

because he was told that
he would be persona non grata.

A second tell-all book,
My Life With Cleopatra,

was co-authored by producer
Walter Wanger,

who was still bitter
over being cut out

of Cleopatra's
postproduction process.

I once said to him, "Why do you want
to write a book about this, Walter?"

And he said,
"Because I think this is going to be

"one of the great films of all time

"and I don't want them
to take my name off it.

"I want the world to know that
I was the producer of this picture."

But the back-stabbing books were
the least of Zanuck's problems.

As the final days before
Cleopatra's premiere approached,

the film's publicity campaign
now faced a legal crisis.

The contracts were so convoluted

that the huge sign that we put up in
Times Square advertising the movie

had the likeness of Elizabeth Taylor
and Richard Burton,

as you would expect.

And Rex Harrison's contract
said equal likeness,

so we had to repaint the sign
and paint Rex in there.

'A turnout of 10,000 New Yorkers
jams Broadway

'for the world premiere
of Cleopatra.'

On June 12, 1963, fans lined up
ten feet deep in Times Square

for Cleopatra's world premiere.

In an unprecedented move, the NBC
network set up a live remote crew

to tape the event for the
Tonight Show's late-night telecast.

You know what?
We've arranged it now, finally.

Mr and Mrs Mankiewicz
had their pictures taken before.

They are right here
and I want to introduce them to you.

Nice to see you. You, sir,
congratulations. Thank you.

A wonderful, wonderful achievement.

Well, you must know something
I don't, but thank you.
LAUGHTER

Well, I must tell you, I do.
Come in, please. Come in, please.

Don't go away, don't go away.

Mr Mankiewicz, I want to say
first of all and ask you

whether or not you are personally
going to control the sound

on the showing of Cleopatra tonight?
That has been the rumour.

No, I think everything
connected with Cleopatra

is beyond my control at the moment.

LAUGHTER

Now that the film is in the can,
about to be presented,

is some of the tension gone?
Is some of the...?

Do you feel a little more
at ease now? No, I...

LAUGHTER

I feel as though the guillotine
is about to drop.

Luckily, the New York Times
gave Cleopatra a glowing review

calling the film
"surpassing entertainment"

and "one of the great
epic films of our day".

But other critics were less kind.

The New York Herald Tribune called
the film a "monumental mouse".

Newsweek said at the time

"at six hours, Cleopatra
might have been a movie,

"but right now it's a series
of coming attractions

"for something that will never come."

But at just over four hours,

Cleopatra could only be run
once per evening.

With word of mouth being mixed,
it would be next to impossible

for the film to generate
enough revenue.

Against furious protest
from Mankiewicz,

Zanuck ordered further cuts.

The result was a 3 hour and
14 minute version of Cleopatra

distributed for general release.

He was very unhappy.

If you can imagine taking
a movie that's six hours long,

edited six hours long and throwing
half of it out and squeezing it

into three and a half hours
or whatever it was,

clearly no artist would
be happy with that.

And he was sure afraid that
it was not... He knew that it was not

going to be anything
like what he wanted.

Roles that had already
been trimmed down

were now almost completely removed.

I was disappointed that
whatever contribution

I had to made to the film,

which was... I can't say was major,

but was creditable,

was diminished to,

at the end of
ten and a half months,

to something which I could
have shot in two weeks.

CROWD SHOUTS AND SCREAMS

It was this shorter version that

premiered in Great Britain
in August of 1963.

Elizabeth Taylor, who had avoided
the American premiere,

attended only after great
pressure from the studio.

She said the final humiliation
was having to go and see it.

And she was forced into it.
She went.

She came out of there, rushed
to the ladies' room and threw up.

Anything that she was proud of

in the movie had been cut.

She infuriated the studio
by going around telling everybody

how much she hated the film.

Nevertheless, whether due to
studio hype or morbid curiosity,

audiences around the world
flocked to see Cleopatra.

Unaware of what was missing,
they liked what they saw.

We seem to have
arrived on a market day.

One day each week, they are
permitted into the royal enclosure.

Market day or not, where's
the guard of honour for Caesar?

Some representative, at least,
of the royal military?

TRUMPETS PLAY

'There was a buzz
within the audience.'

This was truly the most opulent,
most glamorous,

beautifully staged...

GONG CRASHES

'..artistically motivated film.

'A beautiful screenplay,
sumptuous sets, lavish music score.

'Everything about it was opulent.'

The prestigious Academy of
Motion Picture Arts and Sciences

was also impressed.

In January, 1964, they nominated
Cleopatra for nine Academy Awards.

Many in the industry thought
that Roddy McDowall had given

the best performance of his career
as Caesar's nephew Octavian,

one worthy of an Oscar win for
the year's best supporting actor.

My Lord, they have
found Queen Cleopatra.

She is locked in a building.
That is to say, a tomb. Hurry.

Oh, Mark Antony
is with her, they say.

He's dead.

What? Lord Antony is dead.

Is that how one says it?

As simply as that?

Mark Antony is dead.

Lord Antony is dead.

The soup is hot,
the soup is cold.

Antony is living, Antony is dead.

Shake with terror when
such words pass your lips!

For fear they be untrue and Antony
cut out your tongue for the lie!

And, if true...

for your lifetime boast
that you were honoured

to speak his name even in death!

The dying of such a man
must be shouted, screamed.

It must echo back from
the corners of the universe.

Antony is dead!

Mark Antony of Rome lives no more!

But sadly, a clerical error shut
McDowall out of the running -

a mistake that caused the studio to
offer a public apology to the actor.

The fact that he was nominated
in the wrong category was

a terrible blow.

I know he was suggested

as a leading star

instead of as a supporting role.

'It was a great, great tragedy.'

On April 13, 1964,
gold statuettes were picked up

for best art direction,

best costuming,

best cinematography

and best special visual effects.

Four Oscars in all.

Yet despite the box office receipts
and Academy Awards,

bad press during the making of
the film cemented Cleopatra's

reputation as a dismal failure.

Cleopatra was notorious
when it was released.

Absolutely notorious.

Good, bad or indifferent,
it had become a film of...

..such caricature and notoriety
that I don't think anybody could

see the forest for the trees.

In truth, Cleopatra went on
to become one of the

top-grossing films of the 1960s.

It earned a staggering 24 million
dollars in its first release,

although the final production
cost of 44 million dollars

kept the film from breaking
even for several years.

Eventually, the picture made
five and a half million dollars,

but her studio was missing.

Under Darryl and Richard Zanuck's
leadership,

20th Century Fox quickly rebounded
from its financial struggles.

And, thanks to a string of hits
topped by The Sound Of Music,

by 1968, the studio was
in the black and debt free.

Things were going
good on all fronts

and we were able to
re-establish ourselves as

a force in the business,

and a force to be reckoned with.

As for Elizabeth Taylor
and Richard Burton,

the pair would go on to star
together in several films

including The VIPs

and Who's Afraid Of Virginia Woolf?,

for which Taylor would
win her second Oscar

as the year's best actress.

The couple's personal life also
continued to be high-profile

and headline grabbing.

They would marry not once but twice

before splitting up
for good in 1976.

For Rex Harrison,
Cleopatra did little

to tarnish his sterling
screen image.

Soon after the release
of Cleopatra,

he appeared in a string of
critically acclaimed performances

including My Fair Lady,
for which he won an Oscar in 1964.

Unfortunately, director
Joseph L Mankiewicz

never regained the power
and prestige his career

had enjoyed prior to Cleopatra.

'He was at the height of
his fame almost at that time.

'He'd won four Academy Awards.'

He was absolutely...

clear sailing.
He could almost have done

anything he wanted to do.

Because of the magnitude of
this film and the magnitude

of the perceived failure
of this film,

I think it wounded him deeply.
Deeply.

Mankiewicz would go on to helm
five more feature films,

including 1972's Sleuth

starring Sir Laurence Olivier
and Michael Caine.

Well, Olivier and Michael Caine
were both nominated for Best Actor.

He was nominated for Best Director.

The film got wonderful reviews
and made quite a bit of money.

After Sleuth, Joseph L Mankiewicz
never again stepped behind a camera.

But no-one suffered as great a loss
as the man who had lobbied to

turn Cleopatra into
a big-budget epic.

Walter Wanger, the dapper Hollywood
veteran of more than 60 films,

never worked in Hollywood again.

He moved on,
but I don't think he ever

had the same sort of energy
that he had had

before that, the same kind of
enthusiasm about a project.

I mean, it took a huge piece
of him, that film.

Cleopatra didn't only change
the lives of the people

associated with it, the film
helped transform Hollywood itself.

'I think that Cleopatra was
the beginning of star power.

'I think it was the first time

'a star really wielded
that enormous kind of power'

and commanded that kind of salary.

Cleopatra also demonstrated
the folly of betting a studio's

financial destiny on any one film,

a lesson 20th Century Fox
learned well.

We knew we had a budget that wasn't
probably going to be achievable.

I think that was just that
the danger of the picture

was so intense that that was one

that we were just told sell it off,

or sell off half,
find a partner for half of it

in case it doesn't work, that
you don't cripple your company.

In the nearly four decades
since the release of Cleopatra,

a host of technological innovations
have exploded across the globe.

Cable and satellite television,

as well as home video sales,

have helped to offset
the mounting costs of production.

As a result, classic films that
otherwise would have languished in

studio vaults have received greater
importance and increased attention,

largely due to high-profile
re-releases and restorations.

In 1995, 20th Century Fox
executives met with Roddy McDowall

and members of the
Joseph L Mankiewicz family

to discuss the possibility
of rescuing and

restoring Cleopatra to the epic six
hour length its director intended.

'My father asked me to his dying day
to help him get Fox to let him

'put back the film the way it was'

intended to be put together.

Fox launched a worldwide
investigation to

track down hundreds of missing
picture and sound elements.

It's a search that continues
even to this day,

although some long-lost moments
from both the Mamoulian

and Mankiewicz productions
have turned up.

Located in an unmarked box was this
sequence showing Elizabeth Taylor

walking through her encampment
outside Alexandria.

It was intended by Mankiewicz
to be the first scene in which

Cleopatra would appear in the film.

Also located were these
long-deleted moments

from Cleopatra's
procession into Rome.

This snake dancer sequence was
briefly glimpsed in the film's

original trailer, but never
made it to the final cut.

DRUMS BEAT

TRUMPETS PLAY

The restoration effort also
resulted in the retrieval

and re-mastering of more
than two and a half hours

of Alex North's Academy Award
nominated original score.

MUSIC FROM NORTH'S
CLEOPATRA SCORE PLAYS

I think the music for Cleopatra
is extraordinary, in the sense

that it brings to it all of the
Machiavellian madness of the period.

The music, which is comprised
of many, many overlays

and overdubs, it's layer upon
layer of exotic instrumentation...

..that gives you the impression of
snakes slithering across the floor.

It's almost in the music,
you can hear all of the plots

and counterplots and intrigues.

While the search for
Joseph L Mankiewicz's version

of Cleopatra continues, the fresh
attention focused on the film

has resulted in
a new appreciation

for the four hour and three minute
road-show version that survived.

'The drama, the romance,

'the repression, the danger,

'the craziness,

'stripped of all the hubris
of publicity and hype,

'looking at it from a distance
of 40 years,'

we can see the pure film
without all the other stuff.

While the debate continues
about what Cleopatra

could have been or should have been,
there is one fact that

no-one can disagree with -

Cleopatra is a film that
will never be duplicated.

In adjusted dollars, the picture's
44 million dollar cost would

now tally more than
ten times that amount.

It would be nice for that picture
to be seen in its entirety

and I just think it would
be nice to see that

piece of art
that has never been seen.

The restoration of Cleopatra
will come about eventually.

I believe this
missing footage, this

three and a half hours of
missing footage...

..will be found.

But that now will begin...

..a dream of my own...

..which will never end.

Antony.

Antony, wait.

Cleopatra.
It's a name that conjures

mystery, power and seduction.

It is also a name
that has come to suggest

opulence, grandeur
and great excess.

It is the name of one of the most

intriguing woman
who has ever lived

and the name of one of the greatest
and most infamous films ever made.

Was this well done of your lady?

Extremely well.

As befitting the last
of so many noble...rulers.

And the Roman asked,
"Was this well done of your lady?"

And the servant answered,
"Extremely well.

"As befitting the last
of so many noble rulers."

SPEECH IS SILENT, MUSIC PLAYS