by Ed Travis
Overlong, over-written, and over-wigged, writer/director/producer Robert Rossen’s Alexander The Great (1956) is a shining example of a lesser classical Hollywood historical epic. Where many other giant, Cinemascope-d wonders of Hollywood’s yesteryear still feel grand and re-watchable, Alexander The Great’s speechifying and wheel spinning, not to mention go-to devices to signal grand scope such as tons of trumpets and big armies of extras, barely render it watchable in the first place.
Perhaps this comes off too harsh, as by the end it does roar to life with some massively staged battles, complete with the mandatory chariot charges that come with this kind of territory. And Richard Burton plays Alexander with a steely eye and a cocksure ego. He’d be genuinely compelling to watch if he wasn’t saddled with one of the most unintentionally humorous wigs in Hollywood history, and a wardrobe to match.
I can’t claim any meaningful knowledge of Alexander’s historical accomplishments beyond being a dude who conquered a lot. I’ve often heard tell that he conquered the entire known world. The cinema seems to have struggled to capture this potentially compelling tale as Oliver Stone met with much derision for his own attempt in 2004, and this iteration falls quite flat as well. It may finally be time for me to check out Stone’s film now that I’ve taken in Rossen’s rendering. Regardless, Alexander’s journey into history struggles to be engaging as penned and helmed by Rossen. Alexander claims godhood, but is neither portrayed as a crazy person for insisting upon this, nor are we given much insight into the internal Alexander, despite his regular speechifying.
This tension is displayed perfectly in the lengthy segments of the film dedicated to Alexander’s relationship to his father, Fredrich March as Philip of Macedonia. There’s supposed to be roiling tension between these two, with Alexander having every incentive in the world to overthrow his drunken father. Regardless of what the true history was, this film hedges its bets and neither allows Alexander to delve into full Shakespearian fratricide, nor an abiding loyalty to his father. There’s nothing wrong with ambiguity, but much of the film is spent spinning the father/son wheels instead of focusing on the ascendant Alexander. His conquests almost feel tacked on in the last act of the film and their weight and import feels lost in the film’s muddied script.
Perhaps Game Of Thrones has spoiled something like this, doing intricate and ruthless politics brilliantly while incorporating action and breathtaking cinematography and visuals. It is almost impossible not to compare the properties as both feature endless maneuvering and monologues where one is riveting and the other feels dated and stale.
Twilight Time’s own Julie Kirgo offers yet again another highly engaging liner note essay here in this Blu-ray release. But even Kirgo chooses to focus much of her essay on Robert Rossen’s career and dealings with the House Un-American Committee (in which he “named names” in order to get back the career he had lost after being blacklisted), rather than to extol the virtues of this particular film. Apparently Alexander The Great was meant to be Rossen’s roaring comeback after his removal from the blacklist. I’m not sure how audiences at the time reacted to the picture, but today’s audience will find a stuffy and tunic-laden melodrama.
The Package
Actress Claire Bloom, who played the romantic lead opposite Burton, is interviewed for this release and shares many fond memories of her career and its many intersections with Burton. Bloom’s enthusiasm for this film is evident and was almost enough to convince me that it wasn’t so bad after all. Almost.
Also included are a trailer, Kirgo’s liner notes, and the trademark isolated score track included on all of Twilight Time’s releases.
I can see why a giant film epic of this scope and from this era was released by Twilight Time and given its moment in the high definition son. Rossen led a colorful and controversial life and career, and Burton is a fascinating Hollywood legend. It’s just too bad the film is ultimately so dull.
And I’m Out.
