Julius Caesar, the classic story of power corrupting and what happens when it's usurped, is the stuff of a near-masterpiece in 1950's Hollywood. The direction is elegant and timed just right to get the performers on their beats and delivering more and then some. Interesting to see the intensity so LARGE on the fronts of both fronts of British classical-trained theater (John Gielgud, as the most psychologically pathological character, Cassius, fully delivering the goods, plus James Mason being his Mason-iest) and the Method (Brando, seeming like he's always been in these robes - at least this week).It's Shakesepare on Golden-age Hollywood scale, but it's kept intimate when it counts, and the material is allowed to shine fully. This is the Godfather of political dramas, and so many, many lines have been taken into just everyday grammar; aside from the 'fault is not in our stars' line, listen for others like ' O pardon me, thou bleeding piece of earth' or 'it was Greek to me'. And yet it's not simply that these actors get some of the meatiest-dramatic lines ever written, like in the history of all civilizations, but that this is all about what it means to have, take, live with, demolish and get back or keep protected Power, with a capital P.It's almost unfair to give a proper review to the film after seeing it once, as certain big set pieces - or even a couple of the conversations that Cassius has with Brutus or the other Roman senators plotting the death of their "beloved" Caesar - are quite dense with visual touches and details of performance. When Brando has his major set piece (he's not in as much of the film as you might expect, but his presence is felt more, which seems to be a thing with Brando character), addressing the crowd devastated over the loss of their ruler, it's a pinnacle of acting. He isn't just talking to no one, or to himself. He's making it very personal, all the more sad and that the revenge against the betrayers all the more stronger. How to sway a crowd is the name of the dramatic angle here, and it's the stuff of the best Hollywood dramatic acting, writing and direction (and art direction too, what sets) could offer.Is it perfect? Maybe not. The final battle is good but almost, to me, a little short, as if Mankiewicz steps up to make an epic conclusion, but decides to side-step it as if he isn't totally trusting in his capabilities (that would come later, one supposes, with Cleopatra as far as BIG epics went). And yet the final moments with Cassius and Brutus are so effective it makes one want to say nevermind. Especially Gielgud impresses here, with a role that requires a lot of forceful talking, bordering on yelling, with declarations and insinuations and other things - as big as his acting is, just as with Brando and Mason to an extent, though he kind of pulls it back when he can (see the tent scene between Brutus and Cassius before battle), there's subtleties there, little moments you can see the actor working through the emotional logic first, the dense Shakespeare poetry second.As with many Shakesepare movies, it may help being familiar with the play ahead of time to get all of the words and idiosyncracies of the Bard prose. But as far as just the core story goes, it's the stuff of legend. Surely one of those films of the 50's, along with On the Waterfront and Streetcar, where you can run it in an acting school and it might almost be enough to show the movie without any lecture to understand how to command attention from a partner, the audience, the whole world.

It would have been quite helpful if I had read the play 'Julius Caesar' by William Shakespeare before seeing this film, but I am not an avid reader. I do enjoy this kind of majestic English though, but to really get every word of it, I'd need to see it again... and again, and again. So, perhaps this is a 'classic in the making' for me.The story is carefully set up (well, of course...), with some outstanding monologues that really... stand out, yes. For instance the one by Marlon Brando in the market place - with the body of Caesar (and the crowd) at his feet - it is simply captivating. All the other roles are as much enjoyable, with the particular mention of James Mason playing the quintessential Brutus.The battle scene at the end is also worth a separate mention. It is not the best action scene I've ever seen, but it has its own charm and you can just tell how much work must has gone into it. Sort of a cherry on top, if you will.'Julius Caesar' is a thoroughly enjoyable oldie, one which may get more points from me when I've seen it again (and again) and more of the dialogues and monologues have had their chance to bloom.

I have not read the Shakespeare play, or seen it performed, though I would like to. This adds the epic scope of a big motion picture production, but keeps the focus on the people and dialog, merely adding larger sets(that do not distract the viewer), grand groups of extras and incredible production values. The plot is interesting and compelling, and develops nicely throughout. Every acting performance is excellent, particularly those of Brando, Mason and Gielgud. The writing is marvelous, and as is the common practice for William's scripts, the "old English" language is kept intact, and from what I know, a lot of the original lines are, as well. They're all perfectly delivered, too. This is exciting when it means to be, and dramatic and engaging from start to finish. The two hours pass by swiftly, and the pacing is great. Music is a broad, sweeping orchestral score that fits well, and sound tends to be good. There is violence and disturbing content in this, and that's about it for what might bother some audience members. I recommend this to any and all fans of the famous source material and/or those who made it. 8/10

Both the play and movie focus more on Brutus than on Caesar. Many of the personalities of the Late Roman Republic are featured: Caesar, Casca, Brutus, Cassius, Cicero, Cimber, Calpurnia, Portia, Octavian, etc.Summary: The movie commences on the Feast of the Lupercalia (15 February 44 BC). Serious Cassius convinces the "noble" Brutus and superstitious Casca to join the conspiracy against Caesar, whom they fear could become king, even though he turned down the title of Rex three times. Soothsayers have warnings and there are portents in the weather. Portia, Brutus' wife and the daughter of Cato the Younger, loves her husband but is suspicious of his intentions. Calpurnia, the last wife of Caesar, has a terrible dream the night before the fateful day – Caesar's statue spouted blood – and thus tries to prevent Caesar from leaving their house to go to the Senate House on the Ides of March (15 March 44 BC). But Caesar laments that folks might think badly of him if he stays home. On the way to the Senate House Caesar is given written details of the senatorial plot against him by Trebonius, but he does not read the manuscript. Inside the building, Caesar is surrounded by the conspirators and is stabbed to death at a statue of Pompey; Brutus delivers the mortal blow ("Et tu, Brute?"). At this point the movie is not quite half over. The sullen Marc Antony, a partisan of Caesar, initially plays a waiting game. Brutus in his bloody toga addresses the crowd. He says he had always loved Caesar, but loves Rome more (he hated Caesar the politician, who was more king than traditional republican). By contrast, Cassius has always hated Caesar the person. Matters go against Brutus (and the assassins) when Marc Antony eloquently addresses the mob ("Friends, Romans, Countrymen, lend me your ears!"), reminds them of Caesar's accomplishments, and provides details of Caesar's will. Caesar has left 75 drachmas for every Roman citizen plus a people's park. The conspirators flee Rome, and the Civil War begins. The triumvirs – Marc Antony, Lepidus, and Octavian – are aligned against the assassins. The night before the Battle of Philippi Caesar's ghost appears to Brutus. The triumvirs defeat the conspirators in the battle, and both Cassius and Brutus perish. Because his motives were only political and he loved Caesar alone of all the conspirators, Brutus is eulogized by his enemy Marc Antony as "the noblest Roman of them all" and the melodrama ends.Historical fact: Caesar was known for his famous clemency ("clementia") that he often granted to his defeated rivals, including Brutus. The problem was that many of those whom he forgave still turned against him, and many formed a conspiracy against him. Brutus has an extreme moral dilemma as he not only assassinated a person, but also killed a man who forgave him on more than one occasion.