Producer: Gabriel Pascal. Executive producer: Howard Hughes. A Gabriel Pascal Production, produced and released by RKO Radio. Animals supplied by Sid Fogel. Lion (Jackie II) trained by Mel Koontz.
Copyright 30 October 1952 by RKO Radio Pictures. New York opening at the Capitol: 14 January 1953. U.S. release: 9 January 1953. U.K. release: 8 March 1954 (sic). Australian release: 23 April 1953. Sydney opening at the Esquire. 98 minutes.
SYNOPSIS: Ancient Rome. A henpecked tailor extracts a thorn from a lion's paw. This good deed later proves to be his salvation when he meets up with the lion again in the Colosseum.
NOTES: Last of Gabriel Pascal's four films, all adaptations of Shaw plays. Originally, Harpo Marx was cast as Androcles, Rex Harrison as Caesar, Dana Andrews as the Captain and George Sanders as Lentulus. Pascal felt Harpo was "the perfect Androcles" and from all accounts, the rushes were absoluteky brilliant.
But five weeks into shooting, mega-rich producer Howard Hughes saw Alan Young on some trashy TV show and insisted Young be substituted for Harpo. But Young was not free. His agent had signed contracts all over the place. So Hughes bought up all Young's contracts. By the time this was all settled and shooting was ready to get under way again, only Jean Simmons and Robert Newton were still available to continue in their original roles.
All the footage that had been shot was scrapped and Pascal, now firmly under the thumb of Howard Hughes, started shooting again from square one. As a result of Hughes' antics and his decisive interference, Androcles and the Lion is only remembered today as one of Hollywood's costliest failures.
COMMENT: Commences in sprightly fashion, but unfortunately, mingled with the excellent wit, satire and comedy is a banal little romance involving Jean Simmons and Victor Mature of all people who rattles off lines about his "dooty" as a soldier until we are blue in the face with boredom. But if Mature overacts, Robert Newton is even worse.
Alan Young starts well, but he also plays his part too broadly, especially in the later, sentimental sequences. Fortunately, a brilliant performance by Maurice Evans as Caesar virtually saves the film, though Gene Lockhart and Reginald Gardiner also contribute some deftly-played scenes.
Aside from the wit and the amusement offered by about half of the film's episodes, there is a little spectacle for those whose eyes like to dwell on Harry Horner's recreation of the architectural triumphs of ancient Rome. Also outstanding are Stradling's photography and Hollander's music score. On the other hand, Erskine's direction is strictly routine.
Copyright 30 October 1952 by RKO Radio Pictures. New York opening at the Capitol: 14 January 1953. U.S. release: 9 January 1953. U.K. release: 8 March 1954 (sic). Australian release: 23 April 1953. Sydney opening at the Esquire. 98 minutes.
SYNOPSIS: Ancient Rome. A henpecked tailor extracts a thorn from a lion's paw. This good deed later proves to be his salvation when he meets up with the lion again in the Colosseum.
NOTES: Last of Gabriel Pascal's four films, all adaptations of Shaw plays. Originally, Harpo Marx was cast as Androcles, Rex Harrison as Caesar, Dana Andrews as the Captain and George Sanders as Lentulus. Pascal felt Harpo was "the perfect Androcles" and from all accounts, the rushes were absoluteky brilliant.
But five weeks into shooting, mega-rich producer Howard Hughes saw Alan Young on some trashy TV show and insisted Young be substituted for Harpo. But Young was not free. His agent had signed contracts all over the place. So Hughes bought up all Young's contracts. By the time this was all settled and shooting was ready to get under way again, only Jean Simmons and Robert Newton were still available to continue in their original roles.
All the footage that had been shot was scrapped and Pascal, now firmly under the thumb of Howard Hughes, started shooting again from square one. As a result of Hughes' antics and his decisive interference, Androcles and the Lion is only remembered today as one of Hollywood's costliest failures.
COMMENT: Commences in sprightly fashion, but unfortunately, mingled with the excellent wit, satire and comedy is a banal little romance involving Jean Simmons and Victor Mature of all people who rattles off lines about his "dooty" as a soldier until we are blue in the face with boredom. But if Mature overacts, Robert Newton is even worse.
Alan Young starts well, but he also plays his part too broadly, especially in the later, sentimental sequences. Fortunately, a brilliant performance by Maurice Evans as Caesar virtually saves the film, though Gene Lockhart and Reginald Gardiner also contribute some deftly-played scenes.
Aside from the wit and the amusement offered by about half of the film's episodes, there is a little spectacle for those whose eyes like to dwell on Harry Horner's recreation of the architectural triumphs of ancient Rome. Also outstanding are Stradling's photography and Hollander's music score. On the other hand, Erskine's direction is strictly routine.