Prince of Foxes (1949) User Reviews

Fox's Prince

[jpdoherty · 6/10 · 29 July 2009]

Produced by Sol C. Siegal for 20th Century Fox in 1949 PRINCE OF FOXES is a splendid romantic adventure story set in Renaissance Italy. Stylishly directed by Henry King on actual Italian locations it has one unforgivable drawback - its Monochrome cinematography! So for once I cannot say - for the life of me - in glorious black & white! For if ever a movie needed to be filmed in colour PRINCE OF FOXES is the prime example! One story has it that there was not adequate funds to film in colour. But the preferred excuse was when the company arrived in Italy in 1948 to begin shooting they found that there was not a colour camera to be had in the entire country. And being behind schedule already the unfortunate decision was made to film in Monochrome. But Fox Video should have made an effort in making some kind of amends for this by colorizing the movie for this DVD release, thereby preserving - to some degree - the scenes in the magnificent ornate palaces and churches of the Renaissance whose interiors were used in the picture. After all they had done an excellent job with colour on the DVD re-release of the classic "The Mark Of Zorro" (1940) a couple of years back, surely PRINCE OF FOXES was a more deserving cause! Ironically the only Acadamy Award nomination the picture garnered was for Leon Shamroy's Monochrome cinematography!

As it stands however it is still a fine movie with a cracking screenplay by Milton Krims based on the novel by Samuel Shellabarger. Tyrone Power is excellent in it and brings great depth to an already well written part. Also there's a striking performance by Orson Welles in the plum role of Cesare Borgia. The story involves a young adventurer, Andrea Orsini (Power), who is appointed as a sort of ambassador by Borgia to some kingdoms he hopes one day to acquire. When he goes to a mountain state ruled by the kindly and elderly Count Verano (Felix Alymer) and his attractive much younger wife Modonna Camilla (Wanda Hendricks) he becomes aware of a better way of life. He turns against the Borgias, is imprisoned and tortured (in a startling sequence his eyes appear to be gouged from his head). Later he is freed and leads a revolt routing the Borgias. Finally the old count dies from his battle wounds leaving Andrea and the young widow free to marry.

Despite the shameful absence of colour Shamroy's Monochrome cinematography does however lend King's well told story a certain visual style. Also an outstanding addition to the overall picture is Alfred Newman's ravishing baroque score. After the exhilarating Main Title music there is the sumptuous main theme. First heard hauntingly sung by solo male voice over the Venice canal sequence it is then fully developed in glowing orchestral form and is used to point up the growing love between Andrea and Modonna Camilla. An exquisite broad rapturous theme full of engaging warmth which positively surges with passion. It is arguably Alfred Newman's loveliest melodic inspiration! This dazzling score can be heard for its own merits isolated on the audio track.

Performances in PRINCE OF FOXES are throughout generally well played with Power and Welles being particular standouts. Excellent also is Felix Alymer and Everett Sloane but Wanda Hendricks in the female lead is terribly miscast. She doesn't suit the picture at all! One wag observed "She looks like a bobbysoxer lost in a great Cathedral". My sentiments exactly!

The DVD is of exceptional quality! With well defined imagery that is sharp and clear. Extras, besides Newman's arresting score, include a still gallery, a good trailer and a very appropriate Movitone News excerpt showing Ty Power and Linda Christian being wed in Italy which took place while he was making the movie there. NICE ONE FOX! BUT IT IS A SHAME YOU DIDN'T COLOURIZE IT!

Excellent old costume Drama

[artzau · 8/10 · 24 May 2006]

You have to understand that Samuel Shellabarger who wrote Prince of Foxes and Captain from Castile, along with several other sabre-rattling novels of the renaissance, was a very popular writer in the 40s and this movie captures much of the romantic mood of his novels. Tyrone Power had appeared earlier in Captain from Castile which had been a hit and this effort including the great Orson Welles as Cesare Borgia, and two great character actors, Katrina Paxinou and Everett Sloane, was a fantastic production. Wanda Hendrix, who was never any great shakes beyond presenting a pretty Hollywood face, did not distract from the film but the scene chewing between Power, Sloane and, of course, Welles (before he became so obese), is classic. Power with his dark handsome Irish face was always delightful in these heroic roles tinged with darkness. Recall that this film was of the same time period as his classic Nightmare Alley. It is an entertaining yarn but, alas, no video or DVD at this writing, so you'll just have to look for it on the late show. Do so because if you like the romantic golden oldies with a bit of swash and buckle, you'll dang sure like this one.

One of the Most Beautiful B/W Historicals Ever Put Onto Film; Well-Acted

[silverscreen888 · 8/10 · 26 June 2005]

This is the only film whose producer ever rented a country. The tiny country rented to become "Citta del Monte" in Samuel Shellabarger's well-plotted "Prince of Foxes" was actually the real country of Andorra. The historical novel on which this beautifully-paced and emotionally satisfying film was made left Milton Krims, scenarist, with an unsolvable problem--which he proceeded to solve. The plot line involved Tyrone Power as ambitious young Andrea Orsini with Cesare Borgia's scheme to unite and rule Italy; Orson Welles does well as a charismatic Borgia, whose plan it is to marry his sister played by Marina Berti to the Duke of Ferrara; poison will follow, and the key to Italy will drop from the dying Duke's hand into his own grasp. But Andrea must first perform a mission involving the betraying of the strategic Citta Del Monte into Borgia's hands. His Mother, played by Katina Paxinou, is horrified when she hears what he is becoming; and during the mission, undertaken with Everett Sloane as an assassin he takes into service-- his own death having been the one planned--he decides to serve the Lord of the city, ably played by Felix Aylmer and also his daughter, with whom he if falling in love, miscast but hard-working Wanda Hendrix. The final battle is fought, and a happy ending is achieved--for all save Cesare Borgia and those whose death his schemes have wasted. This is a beautiful B/W drama, with lovely sets by Thomas Little,, Alfred Newman's fine music, Leon Shamroy's exquisite photography and period costumes by Vittorio Nino Novarese that I found unforgettable. Kudos also go to Roy D. Webb as 2nd Unit Director for the action scenes that relieve the very competent dialogue portions expertly crafted by director Henry King. This film, which could have been badly made, glows like a ruby set in the hilt of a dagger flashing back the rays of a spring sun. It is well-remembered, and a benchmark of a production against which other historical dramas are measured still.

Everything but glorious Technicolor!

[gregcouture · 11 June 2003]

I seem to recall reading somewhere that one of Darryl F. Zanuck's reasons for not bestowing three-strip Technicolor on this otherwise all-the-amenities production was that he was peeved at Tyrone Power, still under contract to 20th-Century Fox at the time, for turning down numerous scripts. That's probably an apocryphal bit of trivia since it wasn't very easy for contractees to turn down very many scripts without a dreaded (and costly) suspension, and also one might guess that the amount of frozen lira available for the extensive location shooting of this stunning swashbuckler wasn't as munificent as would have been needed to ship those cumbersome three-strip Technicolor cameras to Italy and to complete the expensive process of photography and the preparation of final release prints. But there's no doubt that color cinematography would have enhanced the final result.

Nevertheless, as other comments on this title attest, the completed film is one that repays repeated viewings. When I first saw it on a TV broadcast I was especially impressed with Henry King's direction, somehow more flexible and attuned to his actors' capabilities than many of the productions which he helmed on U.S. soundstages. I'll certainly add my praise to other IMDbers' encomiums for the male members of the cast, but there should also be a word of thanks for the lovely Wanda Hendrix's portrayal, convincing as a devoted wife of a much older husband, and the brief appearance as the treacherous Angela Borgia by Marina Berti, whose beauty was soon to grace the Technicolored screen as Eunice in M-G-M's "Quo Vadis?" two years later.

And this film also boasts one of my favorite scores by Alfred Newman. From the main title's opening bars, one knows that this is one of his best achievements, with an exciting sweep and, as the film unfolds, a masterful enhancement of the script's many nuances. This one truly deserves a video release. How about it, Fox Studio Classics?

The King of Fox as the Prince of Foxes

[blanche-2 · 7/10 · 17 December 2006]

Despite a comment that Darryl F. Zanuck refused Tyrone Power's pleas to make "Prince of Foxes" in color because he was angry with his star, this is not true. The film was probably made with Italian funds that the studio couldn't get out of the country, and there just wasn't enough money to do this richly-produced film in color. Zanuck was too much of a businessman to let anger ruin a good opportunity. And why would he have been angry? Power was doing another swashbuckler like the big man ordered, wasn't he?

Despite not being in color, "Prince of Foxes" is a glorious-looking film, made on location in Italy. It's based on the Shellabarger novel about Andrea Orsini, a peasant with a fake royal name, who is sent by Cesare Borgia to infiltrate the court of Count Verrano, seduce his wife, and get rid of him so that Borgia's troops can take over his province. Orsini, however, double-crosses his boss.

The acting is marvelous - Tyrone Power is wonderful as the turncoat Orsini, and manages to hold his own against the flashier roles of Cesare Borgia (Orson Welles) and Belli (Everett Sloane). Though I doubt that Welles was terribly into his part, as usual he's excellent. When doing a role strictly for money, he had the habit of arching his eyebrow and intoning that glorious voice to make the audience believe he was doing something. It's only when one sees him as Citizen Kane or in a film like "Tomorrow is Forever" that one realizes these later supporting roles are phoned in. But who better to make the call than master technician Welles. Sloane does a fantastic job as a man who just can't stay loyal to one side and pulls one of the film's big surprises. The part is cut down from the book, which is a pity.

The music, the scenery - amazing. The great halls are like nothing you've ever seen. For once, Tyrone Power has competition for beauty! By the time of Prince of Foxes, he was totally sick of these roles, but he had a few years left before Zanuck turned him loose. It's said that he was too old to be a swashbuckler by 1949 - he was 35, which today is nothing, though he often had to play parts that were intended for someone 10 or even 15 years younger. As a result, he sometimes looked tired out. But not here. Perhaps this film was more tolerable for him because of his impending marriage to Linda Christian, his second wife. In any event, he comes off very well.

One thing I never understood is why Zanuck insisted on casting the post-war Power opposite these vapid starlets - Wanda Hendrix in this, Cecile Aubry in "The Black Rose," Jean Peters in "Captain from Castile" etc. - of these, the only "find" was the wonderful Peters. Hendrix is okay in "Prince of Foxes" but that's about it. The role called for a little more depth than she was able to give.

All in all, beautiful to watch, an intriguing story, excellent acting. Recommended, and, by the way, soon to be released in DVD as part of the Tyrone Power Collection.

All the elements

[drjgardner · 7/10 · 17 June 2016]

This is a film with nearly all the elements to have been a great film, yet somehow it is merely good. We have the great Orson Welles during his "acting" career in Europe, and he is still young and full of vitality. His protegee Everett Sloan is there to support him and steal the scenes when he can, and Tyrone Power is at the top of his game, never more attractive nor more charming. We also have one of my favorite character actors, Felix Aylmer (Polonius in Olivier's "Hamlet").

The music and photography are excellent although this film could have benefited from Technicolor. And Director Henry King does his usual great job of giving us action as well as character development.

So where does it fall down? It's the female lead. She is terribly miscast and this fails to give us any real involvement at critical points.

If you like good acting, this film should be viewed.

As you like it

[deickos · 6/10 · 3 August 2017]

This was the film by Henry King I least liked - the production is alright but nothing really happens for me until... The supposed blinding scene and the (not so) supposed happy ending. Let me explain myself and hopefully Henry King - this grand master: there are two different versions and two different endings provided simultaneously! This is only done in Shakespeare - As you like it. One for the audience and one for the few.

Magnificent Medieval Melodrama

[ecomcon-2 · 9/10 · 17 May 1999]

Just this weekend I stumbled across this lovely film on American Movie Classics (AMC)while fiddling around with the old remote. I was absolutely astounded by the realism of the sets: one felt transported to Renaissance Italy. Castles, palaces, towers were all faithfully replicated. The costumes were gorgeous. The armor and weaponry appeared accurate and deadly. Even the catapults were genuine; they did not appear to be models.

The acting was superb! You take for granted that the performances of Welles and Sloane would be excellent. But the very pleasant surprise came with Tyrone Power's portrayal of Orsini. I never considered Power more than just a pretty face (and an excellent swordsman). However, this film changed my opinion of his acting talents completely. In fact, all the supporting cast turned in satisfying performances.

This is a true gem of a film, I would love to see it on the big screen.

Spectacular and moving film set in the Italian Renaissance of the corrupt Borgias with the great Orson Welles as Cesare Borgia

[ma-cortes · 7/10 · 23 September 2020]

A drama with adventure , romance , action and battles set in Italy of The Borgias . Stars fatherless Andrea Zoppo (Tyrone Power) , a handsome and well-educated man who serves to ambitious Cesare Borgia (Orson Welles) , with his equally corrupt sister Lucrezia , hoping to become the most powerful ruler in Renaissance Italy. Erstwhile Orsini is the Angela Borgia 's lover and nearly as unscrupulous as Caesar Borgia . Orsini, along with Belli (Everett Sloane) , another cunning nobleman and assassin , ingratiates himself with seventy year-old Count Verano (Felix Aylmer) , the governor of the fortified town of Citta del Monte. Over the next few months Orsini becomes more and more impressed by the Count's honor , nobility, and wisdom, he also becomes increasingly enamored with Camilla (Wanda Hendrix) , Verano's twenty year-old wife. Although she reciprocates his feelings, the younger woman remains faithful to her husband, and and doesn't consummate them. When Borgia demands Varano cede troops to his service , he renounces by urgeing to resist him . Orsini at the beginning pledges himself to the cause of defending the tyrant Borgias , but a bit later , he turns the tables .King of romantic epics !.3 years in the making !.A spectacular cast of 50,000 !.Filmed amid the splendor and magnificence of its original locale !

Adventure and thrilling movie set in Italia in the turbulent late 16th century . It is a rousing , moving , stirring tale , but rough-edged fare . Dealing with interesting issues , such as ambition , treason and territory encroachment to unification Italian nation . Tyrone Power gives a good acting , as usual .Tyrone is prettu good as the commoner, masquerades as a member of the noble Orsini family and wins favor with the ambitious and Machiavellian Cesare Borgia, , here Tyrone seems to be more serious than the Swashbucklers or pirate movies he played when his good looks and swordmanship were both at their peak and much competition with Errol Flynn in the adventure stakes , such as : ¨Black Swan , The Zorro , Prince of Foxes , Captain from Castile and The Black Rose¨ . These enjoyable films were all well played by Power who was nearly at his most agile and deft style , as he starred various ¨Sword and Swagger¨ films and was superstar of Hollywood swashbucklers . In addition , there are strong performances from Orson Welles as Caesar , Wanda Hendrix as the young wife and other notorious secondaries as Everett Sloane , Marina Berti, Katina Paxinou , Eduardo Ciannelli and Felix Aylmer as the aging ruler puts the question Borgia's subjects .

It packs an evocative photography in black and white by Leon Shamroy . Shot on location in San Marino , Venice, Veneto, Terracina, Latina, Lazio, Chapel of Palazzo Pubblico, Siena, Tuscany, San Gimignano, Siena, Tuscany , Florence, Tuscany , Italy and Cinecittà Studios, Cinecittà, Rome, Lazio, Italy.Lavishly produced by Sol S. Siegel and Twentieth Century Fox . Moving as well as sensitive musical score by classy maestro Alfred Newman . The motion picture was well directed by Henry King . He was an expert on adventure genre , as Henry made ¨Stanley and Livingstone¨ , assisted uncredited in ¨Son of Fury¨ , directed the masterpiece : ¨The black swan¨ , and ¨Prince of Foxes¨ , the Biblical : ¨David and Bathseba¨ , ¨The snows of Kilimanjaro¨ and ¨Untamed¨ . As well as ¨Lloyd's of London¨ and ¨In old Chicago¨ .Rating : better than average . The flick will appeal to Tyrone Power fans .

The film is freely based on Cesar Borgia . The actual events were the following ones : Cesare Borgia was a Spanish-Italian politician and condottiero (mercenary leader) whose fight for power was a major inspiration for The Prince by Machiavelli. He was an illegitimate son of Pope Alexander VI and member of the Spanish-Aragonese House of Borgia. After initially entering the church and becoming a cardinal on his father's election to the Papacy, he became, after the death of his brother in 1498, the first person to resign a cardinalate. He served as a condottiero for the King of France Louis XII around 1500 and occupied Milan and Naples during the Italian Wars. At the same time he carved out a state for himself in Central Italy, but after his father's death he was unable to retain power for long. According to Machiavelli, this was not due to a lack of foresight, but his error in creating a new pope. Cesare's career was founded upon his father's ability to distribute patronage, along with his alliance with France , in the course of the Italian Wars. Louis XII invaded Italy in 1499; after Gian Giacomo Trivulzio had ousted its duke Ludovico Sforza, Cesare accompanied the king in his entrance into Milan.Cesare was appointed commander of the papal armies with a number of Italian mercenaries, supported by 300 cavalry and 4,000 Swiss infantry sent by the King of France. Alexander sent him to capture Imola and Forlì, ruled by Caterina Sforza . Despite being deprived of his French troops after the conquest of those two cities, Borgia returned to Rome to celebrate a triumph and to receive the title of Papal Gonfalonier from his father. In 1500 the creation of twelve new cardinals granted Alexander enough money for Cesare to hire the condottieri, Vitellozzo Vitelli, Gian Paolo Baglioni, Giulio and Paolo Orsini, and Oliverotto Euffreducci, who resumed his campaign in Romagna.Giovanni Sforza, first husband of Cesare's sister Lucrezia, was soon ousted from Pesaro; Pandolfo Malatesta lost Rimini; Faenza surrendered, its young lord Astorre III Manfredi being later drowned in the Tiber by Cesare's order. In May 1501 the latter was created duke of Romagna. Hired by Florence, Cesare subsequently added the lordship of Piombino to his new lands.On 24 June 1501 his troops stormed the latter, causing the collapse of Aragonese power in southern Italy.

Hollywood's Renaisance Man

[bkoganbing · 8/10 · 4 December 2009]

The filming of Prince Of Foxes started a two year run for Tyrone Power in which he worked abroad. This film was shot in Italy and following its completion, Power married his second wife Linda Christian. His next project was The Black Rose filmed in Great Britain and then he appeared in the London production of Mister Roberts on stage and then another British film, I'll Never Forget You. I guess we should call this Power's European period.

One thing that Prince Of Foxes was sorely lacking was color in a film that cried for it. I can't conceive of going to Italy and shooting a film about the Renaissance on the very sites of the same and not spending the extra dollars for color. The bean counters at 20th Century Fox got to Darryl Zanuck. As it was one of the two Academy Award nominations that Prince Of Foxes got was for black and white cinematography and the other for costume design.

Tyrone Power certainly looked and acted the part of a Renaissance man. His character is peasant born whose parents worked hard to get him an education because of his talent for painting. But in the Renaissance tradition, Power plays a man of many accomplishments. An excellent duelist, a diplomat, courtier, and military strategist, Power serves Orson Welles who plays Cesare Borgia and his sister Angela played by Marina Berti in all those capacities.

The assignment he takes on for Welles calls for a combination of all those talents, Power is sent to the duchy ruled by Felix Aylmer and his young wife Wanda Hendrix. The mission is to maybe seduce the wife and cause the old duke to die in some manner and then to turn the strategically located duchy over to Welles without loss of life.

Easier said than done after Power sincerely falls for Hendrix, but also becomes friends with the aged Duke.

Orson Welles was in a European period of his own so to speak. Right around this time Welles was busy filming Othello and financing it intermittently. He took roles in Prince Of Foxes and Tyrone Power's next film, The Black Rose for just such financing. He makes an impressive, but subtly sadistic Cesare Borgia, almost my perfect conception of what that gentleman has come down in history as.

Everett Sloane has the most interesting role in the film, but it's also the films chief weakness. His character motivations, his capriciousness are never quite explained. But as it turns out it's Sloane's very caprice on which the plot of the story turns. He plays a professional assassin, loyal to no one.

Director Henry King staged some impressive battle sequences and with the location got the proper feel for what Renaissance Italy might be like. In some sense this film ought to be seen back to back with The Agony And The Ecstacy which essentially is the next generation of Italian politics mixed with art played out on screen.

Even without color Prince Of Foxes holds up remarkably well today. This is one case where Ted Turner's coloring techniques might really come in handy.

Lavishly budgeted film cries out for Technicolor...

[Doylenf · 6/10 · 19 November 2008]

Top-notch performances from TYRONE POWER, ORSON WELLES and EVERETT SLOANE are the main reasons for watching PRINCE OF FOXES, aside from some very striking B&W photography that makes the most of all the Italian Renaissance settings.

Then too, Alfred Newman has composed a masterful score, although I couldn't help notice that the love theme for Power and Hendrix is actually taken from a brief theme from THE SNAKE PIT where de Havilland and Leo Genn are exchanging parting words.

The fictionalized story of Cesare Borgia (ORSON WELLES) benefits from Welles' strong depiction of the elegant and evil man. He's impressive in a film that demands impressive work from its three main actors. TYRONE POWER is magnificent as Orsini, every bit the kind of hero Samuel Shellabarger wrote about for his historical romances. And EVERETT SLOANE, as Belli, a man who switches his allegiances so constantly that you never know which side he's on, is a scene-stealer in a role worthy of his talent.

Only drawback is that Fox filmed it on actual location sites in Italy, giving added realism to all the palace interiors which cry out for Technicolor rather than B&W. Since the story dwells on the dark side, this is not as much of a disadvantage as it might have been. Rumors are that Power very much wanted Technicolor for the film, but Fox was suffering losses in the European market and settled for B&W.

Summing up: Grand entertainment in the lavish, swashbuckling manner prescribed by these sort of historical romances.

Welles astounds with his undeniable greatness

[MissRosa · 8/10 · 3 October 2000]

Once again, Welles astounds with his talent. Even though he is not listed in this film's credits as director or writer, the great Welles has left indefatigable stamp of genius on this film. His fascination and artistic absorption with great, unbridled power, moral resistance to that power and the response of the artist has once again propelled him to greatness.

His is a fascinating, swaggering, bemused, sly (as the title implies) impression of the all-powerful Borgia and his near success at corrupting the artist, Orsini. Shades of Citizen Kane and Harry Lyme..?

Naturally, there is a weaselly accomplice (Sloan), and he is terrific too. I found Tyrone Power's performance more than adequate -- for once. Production values were good, too.

But the keynote of the entire production is the masterful Welles. His portrayals are a joy to encounter, maybe because he finds the rich and powerful entertainingly evil, while the rest of us poor mortals find them too intimidating to even acknowledge.

Who cares about Welles' "troubles with Hollywood"? Skip the gossip, people, and THINK about his characters' motives and behavior. And their relevance.

(Talk is cheap. It is easy for the American Film Institute to call Citizen Kane the number one movie of all time, but which side were they on when Welles was being persecuted by his Hollywood peers? And where are they now, when talented independent filmmakers are trying to get their "dangerous" films shown -- or recognized)?

The fact is, with or without support or financing, Welles was in a class by himself. His brilliant mind, rampant creativity, sheer acting ability, courage, originality and artistic integrity have yet to be matched.

There will never never be another Welles...

Back to Prince of Foxes. This is an underrated film. See it for Welles' sake, see it for a Renaissance flash, or just see it for Everett Sloan's eyeballs...

A great story in the grand Hollywood style, but it needs Technicolor!

[deacon_blues-3 · 7/10 · 17 February 2014]

I really liked this story of one man's awakening of moral conscience to the evil nature of his complicity with the Borgias in 16th Century Italy. I haven't checked on it level of historical accuracy, but then again, a good story is its own justification, whether it's mostly fact or mostly fiction.

Power is his usual magnetic self as Orsini/Zoppo, a peasant who has studied art with the masters of Padua but has relegated his artistic talents to the status of a hobby in favor of serving the political and military ambitions of Cesare Borgia and his sister Lucretia.

Felix Alymer is most captivating as the wise and gentle Verano. He becomes the key to the reclamation of Zoppo's soul, which has been corrupted by the Borgias from its original vision of truth and beauty.

Wanda Hendrix is quite convincing as the pure-hearted Madonna Verano, who loves Zoppo but remains constant and faithful to her elderly husband until his death in battle with the Borgias.

My only disappointment is that the producers of this film did not spring for full Technicolor treatment, since the on-location sets in Italy and the elaborate period costumes would have been truly awesome in their full, rich colors! Tisk, risk! What a shame!

Prince of Foxes Horribly Out-Foxed *

[edwagreen · 2/10 · 11 December 2008]

This is historically beautiful? This is melodrama at its miserable-best.

Tyrone Power stars in this awful picture about a man sent out to do the work for the evil Cesare Borgia, only to find love and turn on him. The script is quite weak here and some of the acting, particularly by Wanda Hendrix, as his true love, is churlish and almost laughable. Hendrix was horribly cast in this treacherous soap-opera like atmosphere.

Everett Sloane goes from bad to evil and repeats the cycle in record time. He is the embodiment of evil with that look of his. Nevertheless, it is not exactly a memorable performance such as that of Bernstein in Welles'"Citizen Kane."

Katina Paxinou, who had been supporting Oscared 6 years before for the memorable "For Whom the Bell Tolls," comes along for the ride as Power's hysterical ultra-religious mother. She definitely had a tendency to over-act which she displays here.

Welles is his usual terrific self as the evil Borgia, but the script does him in. Also, the black and white cinematography creates a dull period atmosphere-like film. Color would have been somewhat of an enhancement with better writing coming along.

Sloane short changed in the role of Belli

[Invictus-3 · 5 July 2002]

First, allow me to say how wonderful it feels to know I am not living alone on a planet in another galaxy -- that this planet actually has people on it who share a common interest with me: The spin-off from Samuel Shellabarger's historical novels (please feel free to read my comments under "Captain from Castile").

Samuel Shellabarger wrote "Prince of Foxes" after he wrote "Captain from Castile," and was therefore a more seasoned and experienced writer whose plot and character development had improved -- hence the previous remarks about Tyrone Power's acting ability: He had more with which to work in his character of Orsini than he did in the role of Pedro de Vargas thanks to Shellabarger's improved skills as an author. Tyrone Power was always a better actor than anyone (especially 20th Century Fox) ever gave him credit for being.

Each time I view my video of "Prince of Foxes" (copied from American Movie Classics) I am, of course, enthralled and mesmerized by Orson Wells' role of Cesare Borgia. I am equally impressed with Everett Sloane as Belli. But whenever I see Sloane as Belli, I can only think of an opportunity missed and Sloane getting shafted out of a nomination for best supporting actor thanks to the screen writer, director, producer and studio high-pockets. Why? Because the character of Belli, in the book, is the most dynamic character I have ever read! His dynamism was only partially revealed in the movie. There are also characters in the book, pertinent to Belli's development and evolution, that never appeared in the movie. In both mediums, we are introduced to Belli as a hired assassin. By the end of the movie, Belli has change his allegiance three times, but in the book, we leave Belli as he has declared for the priesthood -- and this time, I think he was serious!

Everett Sloane is one of my favorite actors of all time. He was the perfect choice for the role of Belli, as much as Wells was the perfect choice for the role of Borgia. But Hollywood did it again: They missed seeing what was right in front of their eyes in Shellabarger's character of Belli.

I agree with almost everything that has been stated by previous respondents about this production. It is wonderful! I can't wait to view my video of it again! I don't think I will ever tire of it. It is truly magnificent! But I think this film should be reshot and Shellabarger's book followed religiously by the script. It would be a much better movie than even this beauty.

Good Historical Drama

[ldeangelis-75708 · 7/10 · 9 March 2023]

The stuff that historical novels and dramas are made of, with enough historic accuracy to make you feel you're learning something while watching, and also an exciting adventure plot as well as a romance, for few can resist a love story!

Tyrone Power's excellent in the role of Andrea Orsini, the morally ambiguous hero of the tale, whose alliance with Cesare Borgia (Orson Welles) suits his ambitions, but then his heart unexpectedly comes into play, when he meets Camilla Verano (Wanda Hendrix).

As for Orson Welles, he gives another of his incredible acting performances, as he becomes Cesare Borgia, as if he himself travelled through time to play the role.

I'll have to admit, I was a bit disappointed in Wanda Hendrix, as her acting seemed rather bland to me, and I didn't feel the chemistry between her and Tyrone, like I did with other of his leading ladies. But of course, you can't have everything!

A worthwhile movie to watch!

Up with The Third Man for Welles completionists

[Ben_Cheshire · 7/10 · 5 May 2015]

Filmed in authentic historic locations, The Prince of Foxes is a gorgeous production with some good Orson Welles action going for it.

His part here is substantial. There are about 8-10 long scenes, many are key scenes. He plays Cesare Borgia, and the entire film is about him and a plot he puts in motion with the help of Tyrone Power's character.

One of the better Welles acting parts. Recommended to those who like these kinds of rapier and robes period pieces. Perfect world for Welles, his voice sounds wonderful in it, and he is convincing as Borgia. For Welles aficionados this one is a 10/10 among the non-directorial pictures. Deserves to be viewed as much as The Third Man.

7/10

One of the best "period" films I've seen

[funkyfry · 9/10 · 27 August 2007]

I was very pleased with pretty much every aspect of this production. This is really an exceptional historical drama, and although it doesn't have some of the pure thrills of the best swashbuckling action films it more than makes up for it in my book with a complex, adult story that takes the main characters through major transformations. There are many twists and turns in the narrative but all are handled in such a way that neither suspense nor character are sacrificed.

The film tells the story of Orsini (Tyrone Power), or a man who calls himself Orsini (we find out that his true mother was a peasant), an extremely cynical and ambitious man in the employ of the famous warlord Cesare Borgia (Orson Welles). Borgia sends him on several missions during which the stated goal is for Orsini to arrange and break marriages that will prove advantageous to Borgia. When he arrives for his first mission in Vienna, he is immediately the object of a botched assassination attempt, but instead of killing the assassin Mario Belli (Everett Sloane) he makes him his assistant. This might seem arbitrary but the further we get into the film we see this is Orsini's true character; he is a master at taking the negative things life throws him and turning them positive.

Sloane does his best to steal every scene that Welles hasn't already absconded with, but Power manages to focus the attention on himself a surprising amount of the time all things considered. All 3 are powerful and interesting characters, with Welles' Borgia unfortunately missing in action for the main part of the action but reappearing in a startling torture/dinner scene towards the climax (this is also Sloane's best scene in the film). Those expecting a straightforward adventure/romance story like "Scarlet Pimpernell" or "Zorro" best look elsewhere – this is a story of corruption, betrayal, and redemption which engages the question of the ultimate value or worth of an individual's life. The film's creators have set themselves up with a difficult task – they need to make us dislike Orsini just enough to believe that he truly is a complete opportunist with a consciously Machiavellian philosophy, but like him enough to believe that he's undergoing a slow moral transformation under the influence of Count Verano (Felix Aylmer) and his young wife "Madonna"/Camilla (Wanda Hendrix). They succeed almost perfectly, hampered only slightly by Hendrix' lack of presence (a definite necessity for this role which combines sexual and religious overtones with her royal station). At one point there's a biblical analogy going on, as Orsini paints his friend Belli in a "last supper" scene as Judas and seems to paint Camilla as the Lady Madonna. So there's just a lot going on here depending on where your gaze wanders. In the early parts of the film when Orsini is a total cynic about morality who took advantage of everyone else, I thought I was looking at a kind of period film noir – in fact his character in the beginning is very similar to his great performance in "Nightmare Alley." His dramatic character development is handled in a relatively subtle way – there's a kernel of good in his soul that's revealed in his painting, a reflection of his ability to see beauty in people that's been buried by the harsh demands of life. It does make sense that eventually he would see the beauty and good in himself as well.

There seems to be some controversy on the subject of the photography of the film, which many posters say should have been done in color. In my opinion the film has much more style and beauty in black and white. Technicolor is better suited to a less dramatic story; even though this film has some great spectacle – including a full-blown castle siege and a memorable woodland battle in the mist – I think the photography was excellent, and the black and white enhanced the details and beauty of the interiors while keeping the focus firmly set on the actors. Night-time scenes like Belli's assassination attempt and the eerie misty forest would not be as effective in color either. As soon as I saw that this was a serious dramatic piece I was glad not to be distracted by anyone's purple and green tights.

One last note on Alfred Newman's score – it is remarkable, one of the best for an epic/period film that I've ever heard. Combined with excellent photography, indelible performances from the 3 male leads, seemingly dozens of authentic Italian locations, and a mature intelligent screenplay, it provides director Henry King with the best production that I've yet seen from the veteran director. I've never known King as a particularly good director of actors but in this film we have 3 performances that are unforgettable. Welles with his bizarre beard and brazen manner paint a portrait of unworthy ambition – at first his greed and power appear glamorous and appealing to us just as they do to Orsini, but eventually he is shown as a petty malicious fool when Orsini and Belli trick him in the supper scene. Sloane's Belli is a fascinating character, totally unpredictable in his behavior but somehow still believable as a human being. Power's Orsini is a remarkable character as well, revealing depths of feeling in the heart of a true warrior. This is just the type of film that entertains you immensely with its plot twists and character developments on first viewing but which I suspect will reveal even more depth upon multiple viewings.

A silk purse out of a sow's ear

[ilprofessore-1 · 7/10 · 5 October 2008]

One of the first grand scale Hollywood historical melodramas shot entirely on location throughout Italy and at Cinecitta in 1948-9 only a few years after the Second World War, this film benefits from its believable historical settings. Superbly composed and photographed in B&W by one of Zanuck's best cinematographers, Leon Shamroy, and costumed lavishly by the great Vittorio Nino Novarese, the visual aspects of this film add an unusual authenticity to the story. In addition, we have some grand theatrical acting from such classic scene-stealers as the great Katina Paxinao from Greece, England's Felix Alymer (Polonius to Olivier's Hamlet) and America's own wunderkind Orson Welles reunited with his Bernstein from Citizen Kane, Everett Sloane. (Watching Sloane's performance in this film one can only regret that he did not play Iago to Orson's Othello.) The beautiful but rather wooden Wanda Hendrix as Camilla Verana can't compete in this superb ensemble, all directed masterfully by the underestimated Henry King, but the overall effect is magnificent. Who said you can't make a silk purse out of a sow's ear. Not if the sow is Italian!

this is a beautiful film

[jebratton · 10/10 · 4 February 2005]

This beautiful film was actually filmed in Sienna Italy in a palace which can be toured at the foot of the huge piazza and elsewhere in Italy, including Venice. That is why it seemed so authentic, because it is. I used to watch it and it added to my desire to travel to Italy and study Italian history. Finally, I did actually tour the building that was used as the interior of the palaces and I could almost see the film scene for scene as I did. It is another example of the brilliance of Orson Welles. I always watch it when it is played. Tyrone Power is beautiful and I have grown to enjoy Wanda Hendrix performance more with time as she does look a lot like some of the portraits of Italian women of the time. All of the characters look as if they stepped out of Renaissance paintings. As for Orson Welles it is a privilege to see his work and study his acting, directing and film-making.

Orson All Over The Place

[d_anast · 7/10 · 17 September 2005]

This is one of the most visually stunning films I have ever seen in the sense of evoking a specific age fused with a mindset. Only El Cid and Ivan the Terrible Pts 1 & 2 come this close. Ironically, for all the perfection of set design, the film was shot in black and white because, if I remember reading correctly, Zanuck got cold feet about costs. But even in this there is a positive result in that it is obvious the Welles-Toland shooting style heavily influenced the cinematography...something color would have stifled. Quite frankly, if you study the camera set ups closely enough you can almost believe that Orson was standing next to the camera man. Worth mentioning also is Alfred Newman's brilliant score which evokes the Renaissance perfectly. The plot is typical Fox hokum and the acting okay to uneven, but both the visual and sonic elements more than compensate to make this an outstanding work of art. Cinastes will understand, and I encourage them to view it.

Prince of Swashbucklers!

[Skrib · 10/10 · 17 January 2005]

I first saw PRINCE OF FOXES on The Fabulous 52, a movie TV premier series, on KNXT-TV back in the 1950s. The film made such an impact on me I later searched for the source book, Samuel Shellabarger's novel, and read it and his other historical adventures. The movie is better than the book. Power, Welles and in particular Everett Sloane excel; only Wanda Hendrix disappoints. She is by far too shallow and light for the role of the Lady Dona Camilla. Filmed where it would have happened, with money trapped in Italy after the war by Italian monetary policy that wouldn't allow Fox movie profits to leave the country (there was enough money for the movie, but not for color, alas), PRINCE is evocative of a real place and a real time.

Sloane's betrayal of Power, and reversal, is one of the best moments in film. When Sloane plucks out Power's eyes with his thumbs — "Scream! Scream, I tell you!" — it's one of the great moments in adventure film. And later, when Belli (Sloane), who posed for painter Power as Judas, laughs at his revolving duplicity, you can't help but laugh with him.

If PRINCE OF FOXES has weakness (excepting those already mentioned, the absence of color and the leading lady's absence of presence), it's that there isn't enough of it. The film is too quick, the afterimage too fleeting from the eye. I'm always left wanting to see more.

PRINCE OF FOXES is the best swashbuckler I've ever seen. It should be available on DVD for everyone to enjoy.

Prince of Foxes

[CinemaSerf · 7/10 · 4 January 2023]

Tyrone Power cuts quite a dashing figure in this superior swashbuckler. Set during the Borgia papacy, it follows the machinations of an ambitious young man - a country bumpkin - who decides to better himself by assuming the identity of "Andrea Orsini" and taking employment in the service of Cesare Borgia (Orson Welles) who is out to conquer and consolidate the independent states of Italy. On one such mission, however, he falls for "Camilla Verano" (Wanda Hendrix) who is married to the rather aged, but remarkably - for the times - decent and honourable "Count Marc" (Felix Aylmer). When Borgia starts to throw his weight around with the old man, "Orsini" takes his very life in his hands and swaps sides... Welles features quite sparingly in this, but he is pretty convincing as a man not to be crossed, and needless to say he has no intention of tolerating the treacherous behaviour of his erstwhile agent. The lead performances are strong, here - as is the writing. The romance doesn't clutter up the adventure elements (too much, anyway) and there are plenty of sieges and sword fights in their authentic locations to keep it moving along well.

Movie That Has Everything But Color

[gerrythree · 7 May 2006]

From the VHS recording I made of Prince of Foxes on Cinemax 8 years ago (as I recall, part of their Summer series of movies not yet out on video), this movie looks as if it was shot in color. Those castle interior scenes are too dark and DP Leon Shamroy too accomplished a technician to film the movie in such subdued lighting. Somewhere in the Fox archives, there may be records to show if Prince of Foxes was originally intended to be a Technicolor release. The most likely reason 20th Century Fox released the movie in black and white is cost, after Zanuck decided that the potential box office of the movie did not justify the greater expense of making the release prints in Technicolor. Or, the reason could be that some of the filmed material turned out for technical shortcomings not to be able to be processed correctly for Technicolor by the film lab. The cost for retakes would have been prohibitive, since the movie was filmed on location in Italy. So, my opinion is that the studio took the cheap way out, processing a black and white negative from the Technicolor film negative, figuring the audience would not notice how the timing was way off.

If there is still a surviving Technicolor negative of this movie in the Fox film archives stored in some cave somewhere, shot in the three strip Technicolor process, there is now computer technology available to correct any defects in the original negative.

On another note, the director Henry King liked low angle shots as much, if not more, than director Michael Bay. This movie is loaded with low angle shots, sometimes to take advantage of the castle backgrounds, sometimes to show a person's bad situation, as when the bound Orsini looks up at Borgia at the dinner table. In 1949, Henry King had been a director for 30 years, and he picked up some good tricks along the way. Too bad 20th Century Fox didn't spring for a Technicolor release of Prince of Foxes.