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It has often been said that the production of some movies are more interesting than the movie itself. Such is the case, for me at least, with the 1963 film version of CLEOPATRA, starring Elizabeth Taylor, Richard Burton, and Rex Harrison.
Executives at 20th Century-Fox were in a desperate in the late 1950s. The studio had struggled to turn a profit over the last several years, even with such stars as John Wayne, Elvis Presley, and Marilyn Monroe working for them. As a result, producer David Brown Fox's catalog of films for a project to be remade quickly and at minimal expense. Brown came across CLEOPATRA (1917), which had starred Theda Bara and proved highly successful for the studio, and presented the idea to other executives. Fox readily agreed to a remake of CLEOPATRA, but had difficulty finding a producer. When Walter Wanger approached David Brown, he expressed enthusiasm at making CLEOPATRA, with Brown saying "we fell on him" to produce the film.
At first, Fox gave Wanger less than $2 million, the run of the studio's back lot, and the order to cast the picture with the studio's affordable contract players. Joanne Woodward, Suzy Parker, and Joan Collins were mentioned as possible candidates for the coveted role, with Collins even filming multiple screen tests with various potential leading men. Wanger persisted, however, that CLEOPATRA should be a more opulent epic, and spent money out of his own pocket to have glamorous sketches drawn up to show Fox "essentially what they could have, if they opened up their minds". While at least somewhat weary about the budget required for such extravagance, the studio executives saw the potential of larger profits with a bigger production. The budget soon swelled, which meant bigger box office stars could be considered for the lead, such as Audrey Hepburn, Sophia Loren, and Gina Lollobrigida. Wanger originally suggested Susan Hayward for the role, who had just won an Oscar for I WANT TO LIVE! (1958), which he had produced. When Hayward declined, Wanger offered the role to Elizabeth Taylor, who also declined, later saying the first script she received was "terrible". Wanger eventually got Taylor to accept the role in September 1959, after promising her a salary of $1 million, which then-head of Fox Spyros P. Skouras found appalling.
CLEOPATRA had a messy production right from the start. In obliging Taylor's contractual demands, Skouras and Wanger began looking at foreign locales to plant their production, while also agreeing to film the production in the Todd-AO format developed by Taylor's late husband, producer Mike Todd.
But that's just the tip of the iceberg... I'll link the documentary.
Executives at 20th Century-Fox were in a desperate in the late 1950s. The studio had struggled to turn a profit over the last several years, even with such stars as John Wayne, Elvis Presley, and Marilyn Monroe working for them. As a result, producer David Brown Fox's catalog of films for a project to be remade quickly and at minimal expense. Brown came across CLEOPATRA (1917), which had starred Theda Bara and proved highly successful for the studio, and presented the idea to other executives. Fox readily agreed to a remake of CLEOPATRA, but had difficulty finding a producer. When Walter Wanger approached David Brown, he expressed enthusiasm at making CLEOPATRA, with Brown saying "we fell on him" to produce the film.
At first, Fox gave Wanger less than $2 million, the run of the studio's back lot, and the order to cast the picture with the studio's affordable contract players. Joanne Woodward, Suzy Parker, and Joan Collins were mentioned as possible candidates for the coveted role, with Collins even filming multiple screen tests with various potential leading men. Wanger persisted, however, that CLEOPATRA should be a more opulent epic, and spent money out of his own pocket to have glamorous sketches drawn up to show Fox "essentially what they could have, if they opened up their minds". While at least somewhat weary about the budget required for such extravagance, the studio executives saw the potential of larger profits with a bigger production. The budget soon swelled, which meant bigger box office stars could be considered for the lead, such as Audrey Hepburn, Sophia Loren, and Gina Lollobrigida. Wanger originally suggested Susan Hayward for the role, who had just won an Oscar for I WANT TO LIVE! (1958), which he had produced. When Hayward declined, Wanger offered the role to Elizabeth Taylor, who also declined, later saying the first script she received was "terrible". Wanger eventually got Taylor to accept the role in September 1959, after promising her a salary of $1 million, which then-head of Fox Spyros P. Skouras found appalling.
CLEOPATRA had a messy production right from the start. In obliging Taylor's contractual demands, Skouras and Wanger began looking at foreign locales to plant their production, while also agreeing to film the production in the Todd-AO format developed by Taylor's late husband, producer Mike Todd.
But that's just the tip of the iceberg... I'll link the documentary.
