Thursday, April 26, 2012

A Tale of Two Epics: I, Claudius

Josef von Sternberg, Merle Oberon and Charles Laughton
In 1934, British scholar/writer Robert Graves published his best known and most successful work, the sweeping historical novel I, Claudius, written in the form of an autobiography by the Roman Emperor Claudius (10 B.C. - 54 A.D.). 40 years later this classic work would receive plaudits and a new audience in an entirely different medium.

The golden age of the television miniseries began in the mid-'70s - Rich Man, Poor Man was a sensation in 1976 and Roots made history in 1977. Classics like Shogun (1980), Brideshead Revisited (1981) and Winds of War (1983) soon followed. In 1976 the BBC's Masterpiece Theatre adapted Graves's historical fiction into a 12-episode landmark starring Derek Jacobi (Claudius), John Hurt (Caligula), Sian Phillips (Livia) and Patrick Stewart (Sejanus). An Emmy and BAFTA winner, I, Claudius debuted in the U.S. in 1977 and was, among other things, later acknowledged as inspiration for the blockbuster prime-time soap, Dynasty (1981 - 1989).


This year, in March, Acorn Media released a new boxed set edition celebrating the 35th anniversary of I, Claudius. Among the bonus features are extended original versions of episodes one and two, a behind-the-scenes documentary entitled I,Claudius: A Television Epic, an interview with Derek Jacobi and...a 70+ minute BBC documentary from 1965, The Epic That Never Was, about the unfinished Alexander Korda production of a Josef von Sternberg-directed film. This first version of the Graves novel starred Charles Laughton (Claudius), Merle Oberon (Messalina), Flora Robson (Livia) and Emlyn Williams (Caligula).

A sketch by Art Director/Production Designer Vincent Korda for I, Claudius

In 1937 Korda, who would later marry Oberon, set out to produce a grand epic. In 1933 he had produced and directed The Private Life of Henry VIII, the popular film that brought Charles Laughton a Best Actor Oscar, and produced another great success in 1934 with The Scarlet Pimpernel starring Leslie Howard. Hungarian-born but based in Great Britain, Korda's dream was to make pictures in England that rivaled those coming out of Hollywood. With Henry VIII and The Scarlet Pimpernel, he'd begun to realize his dream but wanted to reach further. With Charles Laughton still under contract to him in 1937, Korda's ambition was to create a film greater than either Henry VIII or their most recent collaboration, Rembrandt (1936). Korda bought the rights from Robert Graves for the recently published I, Claudius, hired Josef von Sternberg to direct, and the project moved forward.

Charles Laughton as Claudius

The Epic That Never Was is hosted by actor Dirk Bogarde, who recalls in his narration that as a teenager he ventured with friends to Korda's Denham Studios to watch the filming of I, Claudius. The documentary features interviews with many who worked on the film: Merle Oberon, Josef von Sternberg, Robert Graves, Emlyn Williams and Flora Robson, as well as Korda's longtime script girl and others. Only Korda and Laughton, no longer alive in 1965, are absent.

Merle Oberon as Messalina
According to Merle Oberon, Korda wanted his friend von Sternberg to direct hoping that the filmmaker who masterminded Marlene Dietrich's ascent to stardom would handle Oberon with the same care and artistry so that she, too, might become a great star. The actress recalled vividly once filming began, "something odd happened," suddenly Charles Laughton "couldn't find his character." Laughton began to break down and the script girl remembered him despairing, "I can't find the man!" Josef von Sternberg recalled the actor "had some difficulty getting into his part" but felt, all in all, that Laughton's performance was "magnificent" and that his problems would pass.  Eventually Laughton determined that Claudius was Edward VIII and began listening to the former king's abdication speech to help sustain his motivation.

Flora Robson as Livia
Flora Robson remembered that Josef von Sternberg was very much the flamboyant director and that he came to the set dressed in riding boots and other regalia. The script girl recalled that the director was also a first-rate editor and noted that he seemed to "edit in his head" before he shot a scene. Her remarks bring to mind critic Andrew Sarris's observation that von Sternberg "entered the cinema through the camera rather than the cutting room" and Marlene Dietrich's flat statement that "he was the greatest cameraman the world has ever seen..."

About 30 minutes of the 1937 production footage survives and is included in The Epic That Never Was; it is fascinating. Emlyn Williams is vile and reptilian as Caligula and Laughton's inspired Claudius foreshadows Jacobi's brilliant interpretation. As always, von Sternberg composed visually stunning, painterly scenes drenched in atmosphere.

Just a month into shooting, Oberon suffered a car accident in which she was thrown into the windshield. She was badly injured and filming was permanently halted. Emlyn Williams considered this "a godsend;" according to him, producer, director and star were not happy. Author Robert Graves, who had written an unused script for the project, assigned credit for the film's demise to Claudius himself - from beyond the grave...

The Masterpiece Theatre drama met a far better fate than Korda's promising but ill-starred venture. Along with awards won and influence extended, TV's I, Claudius earned an enduring reputation and remains today among the top-ranked miniseries of all time. Any speculation by Robert Graves, who lived until 1985 and the age of 90, on the late Emperor's reaction to the BBC series is unknown...

John Hurt as Caligula, Derek Jacobi as Claudius, Sian Phillips as Livia

34 comments:

  1. Excellent post, Eve! As much as I admire the BBC I, Claudius, I bought the DVD box set specifically to get The Epic That Never Was. Despite its brief running time, I think it's one of the great movie-related documentaries, chiefly because so many of the principals were still alive to go on the record, and so much of the footage survived (no question, Korda's Claudius was going to be a great movie.)

    And how about that opening, using the "Dawn" movement from Also Sprach Zarathustra, three years before Kubrick used it in 2001? I wouldn't be surprised if Kubrick saw TETNW and remembered the music later.

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    1. Thank you, Jim. This is one boxed set with an inspired and truly valuable bonus feature. I had great expectations for "The Epic That Never Was" and they were completely surpassed. I agree it's one of the best movie-related documentaries ever - it's at the top of my list. I also noticed the movement from "Also Sprach Zarathrustra" and it took a moment before I remembered that "2001" came three years later. It's very possible Kubrick saw TETN - I'm sure he missed very little related to the making of movies, plus he'd moved to England in 1962.

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  2. Very interesting. I saw "The Epic That Never Was" many years ago as part of a Charles Laughton series at the Film Center in Chicago. (It was paired with "Island of Lost Souls.") I thought it was fascinating and I remember thinking that while Laughton was good in one particular scene (is he telling off the Senate or something like that), in others he was very exaggerated in manner, especially his walk, which resembled him trying out for the Ministry of Silly Walks more than attempting to create a character. Still, I would have loved to have seen the finished film, and I think it would have been a corker.

    I also remember a scene when, I think its von Sternberg, insisting on having 40 vestal virgins on set and he wanted them naked. That brought the house down.

    The book "I, Claudius" is a gripping read and was next to impossible to put down.

    BTW, the following week I saw another Laughton double feature as part of that series - "Les Miserables" and "Ruggles of Red Gap." That was one of the all time great double features.

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    1. Kevin, The first time I watched "The Epic That Never Was" I was amazed by a particular aspect of Laughton's characterization and was sure Derek Jacobi must've seen this footage. One of my favorite of the surviving scenes is set on the farm where Claudius lives. Very evocative. The remaining footage indicates to me that this film had the potential to be a high point in the careers of Korda, von Sternberg, Laughton and all concerned.

      My understanding is that von Sternberg used 60 vestal virgins instead of the historically accurate 6 and that they were wearing transparent veils. Having seen his Dietrich films many times along with "The Shanghai Gesture" and others, this was no surprise!

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  3. Eve ~ a fascinating look at the history of a work of fiction and the journey to bring to film. I can think of no other director whose legacy is built equally on available films and films that will never be seen. The silent and early sound films available give a hint to his prodigious talent, and fuel curiosity and speculation regarding the lost or should have been films. I suppose it is a compliment to von Sternberg and his powerful portrayal of Marlene Dietrich in his films that Korda hoped he could do the same for Merle Oberon. The photograph of her and Flora Robson reveal the same love affair with lighting and soft focus; the “star bursts” give an ethereal, other worldly glow to both. “Author Robert Graves, who wrote an unused script for the project, assigned credit for the film's demise to Claudius himself - from beyond the grave...”, hilarious, and I suspect this is as plausible an explanation as any. I saw the PBS/Masterpiece Theatre presentation of “I, Claudius” when it re-aired in the early 1990s, a memorable history of Rome with memorable characters, and I’m amazed the series consisted of only 12 episodes. I remember how convincing Sian Phillips was as Livia and being amazed when I learned she was Peter O’Toole’s wife (she was so deliciously wicked). “Any speculation by Robert Graves, who lived until 1985 and the age of 90, on the late Emperor's reaction to the BBC series is unknown...”, perhaps Graves wasn’t as certain of the former Emperor’s views on television as he had been on film. Thanks again Eve for sharing this behind the scenes look at both the film and television version. I'll need to make room on my "to buy" list; "The Epic That Never Was" alone makes it worth the price.

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    1. 'Gypsy, Though Josef von Sternberg's era as a "meaningful force" in Hollywood was relatively brief and, as you note, a good part of his legacy will never be seen, some of his best work thankfully survives. His reputation endured among filmmakers, critics and historians. Billy Wilder counted him among his early heroes. Truffaut is well-known for championing Hitchcock, but he also admired von Sternberg. Critic Andrew Sarris published his pioneering monograph, "The Films of Josef von Sternberg" in 1966 and more recently film historian Sam Wasson, in a book with Paul Mazursky, singled out three "filmmakers who speak loudest in pictures: Hitchcock, von Sternberg and Scorsese." What remains of "I, Claudius" reflects von Sternberg's extraordinary visual artistry. His autobiography, "Fun in a Chinese Laundry" is well worth reading.

      I'm a great fan of "I, Claudius," the miniseries. Wonderfully adapted, staged and cast. Some of the great emerging British actors of the time gave dazzling, star-making performances. I, too was mesmerized by Sian Phillips as the "deliciously wicked" Livia.

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  4. The BBC mini-series version of "I, Claudius" is great on so many levels. John Hurt as Caligula is fantastic in the extreme, which is fitting performing such a twisted, over-the-top character. All the acting is razor sharp and the series is just incredible, sordid fun. I saw "The Epic That Never Was" some years ago and also found it a fascinating documentary. I can't say that I'm confident that the film would have been an epic success (it could have been an epic failure) but, obviously, we'll never know how it would have turned out, so it's fertile ground for fantasy.

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    1. MCB, "I, Claudius" appears on every list of "Top Ten Miniseries" I've seen, and for good reason. There is nothing about it that isn't first-rate, most obviously the performances of the key players. John Hurt, Derek Jacobi and Sian Phillips in particular are unforgettable. When I read that "Dynasty" was inspired by the series I was a little surprised, but then thought about it - and realized "Dynasty was a tacky, mass-appeal "I, Claudius Lite."

      There is some disagreement as to why the Korda/von Sternberg "I, Claudius" was shut down. Some accounts report that Merle Oberon's car crash was near-fatal and the only reason the production closed. Others state that the production was troubled and running over budget. Etc. What I see on the screen reflects very fine performances and meticulous craftsmanship. Without a doubt, the potential for greatness was there...

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  5. Eve, I got this set For Joann some time ago. I had the whole series on (gasp) Beta forever. The only thing wrong with the DVD's is that they have been made more PC. Which is strange considering that they ran on PBS Masterpiece Theater and then reran in LA in the very early Fox day's on channel 11 which is where I made my copy.

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    1. Paul, It sounds like you have an earlier boxed set. A previous edition included the BBC documentary, "The Epic That Never Was," and other extras. This 35th anniversary edition came out in March 2012, newly remastered. Here's a link to info on this latest release: http://www.filmsinreview.com/2012/03/12/i-claudius-35th-anniversary-edition/

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  6. I have never seen this but have always heard so much about it, so I I am ordering the BBC box set today from Amazon. Wonderful artticle Eve as always!

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    1. John, If you haven't seen "I, Claudius" in any version, you are in for a very big treat. The miniseries is incomparable and the documentary on the unfinished film will probably catapult you into the realm of "what if" with the rest of us.

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  7. Eve I have the earlier set. John wait till you see Patrick Stewart with hair .

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    1. Paul, It is the earlier set that I've seen, too, and now, like John, I'm planning to buy the 35th anniversary edition.

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  8. Reading this made me wonder whether Korda could have reunited Von Sternberg and Dietrich, given that he also produced her Knight Without Armour in late 1936. Of course, I've never read about such a ploy on Korda's part, but he sure offered her a lot of moolah to do only one movie in London--$450K, according to Steven Bach. Bach also wrote that Dietrich spared Korda from paying her the remaining $100K that he owed her after wrapping up Knight Without Armour under the condition that he hire V.S. to direct I, Claudius, and Bach pointed out that V.S. didn't acknowledge this in the documentary, The Epic That Never Was.

    By the way, in the rushes available on YouTube, I see V.S.'s famous butterfly lighting--especially for Williams, who gets the most dramatic and flattering treatment.

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    1. Joseph, I've read the account you mention about Dietrich forgiving $100k that Korda owed her on behalf of JvS. Given that von Sternberg's "The Blue Angel" launched her and that he went on to glorify her in five more memorable films, Dietrich's debt to him was far greater than any cash Korda owed her (especially for an entirely lackluster film). However, Merle Oberon's account in "The Epic That Never Was" differs from Bach's, as noted. There are many tales connected to Korda's ill-fated "I, Claudius," including a report that von Sternberg had a breakdown following the close of production.

      Williams does look quite beguiling given the "butterfly" treatment. He's quite good in the role, a most slithery Caligula...

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    2. Oh, yes! Dietrich owed so much to V.S., and I know she showered him with praise at her 1959 MOMA film retrospective.

      I have read about V.S. having a breakdown after his unsuccessful attempts to make Zola's Germinal into a movie in 1938, which he intimated in his memoirs. After the unrealized I, Claudius and the aborted Germinal project, he probably did lose it--as many people in such a situation would.

      Anyway, I echo the sentiments of others who are now set on ordering the 35th anniversary edition of Caligula. I always learn a lot when I read your blog, which pushes me to consult my sources and brush up on my knowledge.

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    3. Joseph, You mention JvS's autobiography, which is one of the most interesting I've read. He seems to have been as sensitive as he was talented under that protective layer of irony. And thank you, I take it as a great compliment that you feel you learn things from my posts - particularly when it comes to anything related to Marlene Dietrich.

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  9. Eve, it's scary how similar our tastes can be. I recently found "I, Claudius" in Barnes and Noble on sale for 40% off. I actually bought it the night David and I went to see TCM's showing of "Casablanca." David, my mom, and I were riveted by the miniseries. It has long been David's favorite but I had only seen some chapters. It is now my favorite too! The special feature of "The Epic That Never Was" made this set especially interesting. However, I must confess that I much as I respect Laughton and Robson, Derek Jacobi and Sian Phillips were brilliant! Plus, could anyone top John Hurt's scary yet comical portrayal of Caligula?

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    1. Gilby, This piece came about because I heard the news on NPR the other morning that a new edition of "I, Claudius" had been released. I'd posted parts of the piece on TCM's Classic Film Union a couple of years ago after seeing "The Epic That Never Was" for the first time. I have always loved the miniseries but was unfamiliar with Korda's earlier attempt. Also being a fan of von Sternberg, I was enchanted with the film's surviving footage - not to mention its history. I really can't compare the two versions - especially since the first is so incomplete and its style so entirely different. That said, the miniseries is nothing less than a masterpiece and I can't imagine anyone following (or wanting to follow) in the footsteps of Derek Jacobi, Sian, Phillips or John Hurt. Impossible!

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  10. Lady Eve- another great post. Those movies that never were are such a fascinating topic. I was doing a bit of research on James Mason and his story is full of almost-were films. “For all sad words of tongue and pen, The saddest are these, 'It might have been'.”

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    1. FlickChick ...and then there are the ill-conceived films that did get made and ended up damaging the careers of those involved (that might make an interesting blog post!). I'll be visiting your blog soon to find out more about that "blaggard" James Mason (as well as one of my favorite femme fatales, Jane Greer).

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  11. von Sternberg seems to have had a larger than life ego--I think that's why he worked so well with divas like Dietrich. It's a shame that 1937 production was never finsished, as I think Laughton could have owned the role of Claudius. I have never seen the 1970s miniseries, so I can't say much about it, but I suspect it would have paled in comparison to a Korda/von Sternberg version.

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    1. Kim, von Sternberg seemed to have been extremely creative with a quintessentially artistic temperament. However, I suspect he picked up his autocratic methods from his rather brutal father, a former Austrian soldier. Interestingly, Dietrich's father and step-father were both military men. The divas who followed her before von Sternberg's camera would probably have put up with anything from him, such was his reputation for glorifying a woman's charms onscreen.

      Though it's hard to determine from 30 minutes of footage whether this film would have become the classic it had the obvious potential to be, there's no question that the BBC series is magnificent. I urge you to watch it - I think you'll find it is a production that would be equal to (though very different from) even the best of Korda/von Sternberg/Laughton/Williams/Robson. This is the highest praise from me, a champion of both von Sternberg and Laughton who, in my view, are terribly underrated today.

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  12. Eve, I read this when you first posted it -- why I didn't comment then, I don't know! Brain fades are rather common for me. I am one who thinks that the PBS I, Claudius was one of the best film pieces ever made. But oh would I love to see Charles Laughton as Claudius. It's interesting that he said he couldn't find the man. He seems so perfect for that part. And it would be wonderful to see Emlyn Williams' interpretation of Caligula. With my birthday coming up this summer, I'm going to do some serious hinting about that boxed set! Wonderful article!

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    1. Becky, There are clips from "The Epic That Never Was" on YouTube, but not the complete documenatary - plus watching on YouTube isn't optimum - so I hope you get the newly remastered anniversary "I, Claudius" for your birthday. From the scenes that survived, it seems to me that Charles Laughton had found Claudius.

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  13. LOL! I sent a subtle(?) hint by email to all my family. I found the set at Acorn Media's site. Crossing my fingers!

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  14. Very interesting, Eve. I saw the TV series years ago and remember Derek Jacobi's performance in particular - I'm not sure I'll get round to watching it all again, but would like to see the documentary about the sadly unfinished von Sternberg version.

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    1. Judy, Though the two productions of "I, Claudius" are very different, each is great in its own right - the BBC production as a beautifully realized complete work and von Sternberg's effort for what it indicates of not only "what might have been" but for what he managed to capture in just a few weeks. I haven't seen the entire BBC series for quite a while, but hope to again - and I hope you have the chance to see the documentary on the film, it's fascinating.

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  15. Coming late to the party: actually got into it lazing around and catching "Advise and Consent" on TCM
    the other night. Thought it might have been Laughton's swan song and goggling around, proved to be
    right. Stumbled into the I Claudius side of his career that way - - remember seeing "The Epic That, etc."
    years ago and being fascinated by the whole tale. Been watching some clips on YouTube and two things
    struck me:
    1) Could it be Laughton couldn't "find the man" because the man was too close to who he, as a
    deeply insecure human being really was? As a man who thought his face looked like an elephant's
    behind, he must have been severely self-conscious his whole life; his tendency to be a tad difficult to
    deal with (hence the title of Simon Callow's bio) may have sprung from that insecurity; plus his
    somewhat demonstrative performances could been a self-assertion that he couldn't achieve as plan old
    Charlie L. in real life. Perhaps the character of Claudius reflected a fat boy's sense of being unloved
    because he was so physically unattractive - - to let go and inhabit that reality would have been to stand
    naked as is and not hiding behind the role. That's why he didn't "get it" until he could inhabit the
    character through the recording of the King's abdication speech: that provided him with the cover he
    desperately needed to pretend it wasn't his life but someone else's he was portraying.
    2) Despite never seeing the light of day, Emlyn Williams as Caligula seems to me to have influenced
    every performance of that character ever after. Just look at Jay Robinson's unforgettable performance
    in the fifties in two different films, not to mention the great John Hurt's portrayal in the seventies series.
    In both cases, the spirit of the Williams menacing little mince pie of a performance seems to be the
    inspiration and originator for the character of Caligula as a demonic sprite.
    Anyway, enjoyed the time, keep up the good work.

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    1. Anon, You make an interesting point that Laughton may have felt the afflicted Claudius was a bit "too close to home" for his own comfort. Quasimodo was a another damaged character, though less identifiably "human," perhaps, and possibly less intimidating. I found it odd that Laughton latched onto Edward VIII for his Claudius inspiration...but "whatever works." He was such a wonderful actor and turned in a long list of indelible film performances. As "The Night of the Hunter" revealed, he was also a remarkable director. I can't help but wish Laughton had realized that he possessed the sort of beauty that is beyond physical.

      What survives of Emlyn Williams' "menacing little mince pie of a performance" (great description) as Caligula is impossible to forget. If only he'd had the chance to complete his performance! For me, John Hurt's depiction of "Caligula as a demonic sprite" was incomparable. I have no idea whether those who appeared in the BBC series viewed the earlier footage - I have a strong feeling that they did. As I've probably mentioned before, there is a particular mannerism Laughton employed as Claudius that I feel certain Derek Jacobi must've seen.

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    2. Good morning, Eve,

      Thank you for your kind words yesterday in response to my post. Had a couple of more
      thoughts this morning while cleaning out my cellar.
      In reverse order from yesterday:
      1) I caught Emlyn Williams' one man show as Charles Dickens out in Cali in the seventies.
      I had done some summer stock ("The Tempest") at Pierce College out the far end of the
      San Fernando Valley, and I scooped two tickets that fall to entice a young lady I had my
      eye on. Alas, the lass stood me up (let me down easy by saying Dickens "wasn't her thing"), so rather than eat the cost, I went, anyway. What I remember vividly is Williams
      striding out in full Dickens regalia, doing a virtuosic performance reading from the great
      man's works, then bowing quickly and striding off again, never once breaking character.

      2) Count me as one person who never "got" "Night of the Hunter." I think what really turned me off was what I considered Robert Mitchum's (and I'm a big fan of his) way-hey
      over the top performance. I mean, compared to a truly frightening performance by him a
      few years later as a thuggish Max Cady in "Cape Fear," I thought he really - how else to
      put it? - "camped" it up, appearing more cartoonish than threatening. I wonder if Laughton
      encouraged him to "take it up a notch" (many notches, actually). Despite their obvious
      differences as individuals, he and Mitchum got along very well - Mitchum had a sensitive,
      poetic side he kept from his roustabout buddies, and there's a rather poignant moment
      in, I believe, Mitchum's bio, "Baby, I Don't Care," where a nervous Laughton hesitantly
      broaches the subject of his sexuality, not knowing if Mitchum will be offended, whereupon
      Hollywood's greatest outlaw merely arches an eyebrow and rumbles, "No, shit, huh?"
      Anyway, thanks again for letting me share. Have a great day. I'm back to my cellar.

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    3. Anon - I can understand why Robert Mitchum's performance in "The Night of the Hunter" might not be your cup of tea (though I thought he was in great form and enjoyed his out-sized depiction of archetypal evil), I'm curious about your take on the film's extraordinary expressionistic, dream-like atmosphere.

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  16. Just finished watching the I Claudius mini series for the third time and have got even more out of it. The documentary on the 37 production was enlightening especially Graves' commentary. You'd think the old boy really did have a spirit line to the imperial family. The story is engaging to the point of documentary itself.

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