Extracting “Big History” from Hollywood “Sword-and-Sandal” Movies: Cleopatra (1963)

Seen in “deep time,” the movie is not about colorful personalities only but on a larger scale, the transition from the Roman Republic to the Roman Empire. This covers approximately one thousand years with some five centuries for each form of government, republic and empire.

The movie has as its background internecine power struggles in both Rome and Egypt.

The upshot of these struggles is the transition from the Roman Republic to the Roman Empire. This transition is “punctuated” by two momentous battles:

  1. Land Battle of Pharsalus, 48 BC (Cleopatra begins with this battle).
  2. Naval Battle of Actium, 31 BC.

Rome went from monarchy (Kings) to republic (Senators) for five hundred years to Emperors for another five hundred.

(Notice that Napoleon was crowned Emperor of the French in 1804. The King was executed during the French Revolution and the word “king” was to be avoided.)

Other movies like Ben-Hur with Charleton Heston playing the lead role, show you the unhappiness of colonial peoples (like the Hebrews) under the Roman Empire. Christianity became the official religion in 330 AD under Constantine and the capital was moved from pagan Rome to Christian Constantinople. The very name “Roman Catholic Church” shows you the fusion after centuries of conflict.

After the Battle of Pharsalus in 48 BC, Julius Caesar went to Egypt, under the pretext of being named the executor of the will of the father of the young Pharaoh Ptolemy XIII and his sister Cleopatra.

Ptolemy and Cleopatra are in the midst of a civil war of their own and she has been driven out of the city of Alexandria.

Ptolemy rules alone under the care of his three “guardians,” the chief eunuch Pothinus, his tutor Theodotus and General Achillas.

Cleopatra convinces Caesar to restore her throne from her younger brother. Caesar, in effective control of the kingdom, sentences Pothinus to death for arranging an assassination attempt on Cleopatra, and banishes Ptolemy to the eastern desert, where he and his outnumbered army would face certain death against Mithridates.

Cleopatra is crowned queen of Egypt and begins to develop megalomaniacal dreams of ruling the world with Caesar, who in turn desires to become king of Rome.

They marry, and when their son Caesarion is born, Caesar accepts him publicly, which becomes the talk of Rome and the Senate.

After he is made dictator for life, Caesar sends for Cleopatra. She arrives in Rome in a lavish procession and wins the adulation of the Roman people. The Senate grows increasingly discontented amid rumors that Caesar wishes to be made king, which is anathema to the Romans. On the Ides of March in 44 BC, a group of conspirators assassinated Caesar and fled the city, starting a rebellion. An alliance among Octavian (Caesar’s adopted son), Mark Antony (Caesar’s right-hand man and general) and Marcus Aemelius Lepidus puts down the rebellion and splits the republic. Cleopatra is angered after Caesar’s will recognizes Octavian, rather than Caesarion, as his official heir, and she returns to Egypt.

While planning a campaign against Parthia in the east, Antony realizes that he needs money and supplies that only Egypt can sufficiently provide. After refusing several times to leave Egypt, Cleopatra acquiesces and meets him on her royal barge in Tarsus. The two begin a love affair, and Cleopatra assures Antony that he is much more than a pale reflection of Caesar. Octavian’s removal of Lepidus forces Antony to return to Rome, where he marries Octavian’s sister Octavia to prevent political conflict. This upsets and enrages Cleopatra. Antony and Cleopatra reconcile and marry, with Antony divorcing Octavia. Octavian, incensed, reads Antony’s will to the Roman Senate, revealing that Antony wishes to be buried in Egypt. Rome turns against Antony, and Octavian’s call for war against Egypt receives a rapturous response.

The war is decided at the naval Battle of Actium on September 2, 31 BC, where Octavian’s fleet, under the command of Agrippa, defeats the lead ships of the AntonyEgyptian fleet. Cleopatra assumes that Antony is dead and orders the Egyptian forces home. Antony follows her, leaving the rest of his fleet leaderless and soon defeated.

Several months later, Cleopatra sends Caesarion under disguise out of Alexandria. She manages to convince Antony to resume command of his troops and fight Octavian’s advancing army. However, Antony’s soldiers abandon him during the night. Rufio, the last man loyal to Antony, kills himself. Antony tries to goad Octavian into single combat but is finally forced to flee into the city. When Antony returns to the palace, Apollodorus, in love with Cleopatra himself, tells him she is in her tomb as she had instructed, and lets Antony believe she is dead. Antony falls on his own sword. Apollodorus then confesses that he misled Antony and assists him to the tomb where Cleopatra and two servants have taken refuge. Antony dies in Cleopatra’s arms.

Octavian and his army march into Alexandria with Caesarion’s dead body in a wagon. He discovers the dead body of Apollodorus, who had poisoned himself. Octavian receives word that Antony is dead and that Cleopatra is holed up in a tomb. There he offers to allow her to rule Egypt as a Roman province if she will accompany him to Rome. Cleopatra, knowing that her son is dead, agrees to Octavian’s terms, including an empty pledge on the life of her son not to harm herself. After Octavian departs, she orders her servants in coded language to assist with her suicide. Octavian discovers that she is going to kill herself and he and his guards burst into Cleopatra’s chamber to find her dead, dressed in gold, along with her servants and the asp that killed her.

The Battle of Actium was a naval battle fought between a maritime fleet of Octavian led by Marcus Agrippa and the combined fleets of both Mark Antony and Cleopatra VII Thea Philopator.

The battle took place on 2 September 31 BC in the Ionian Sea, near the former Roman colony of Actium, Greece, and was the climax of over a decade of rivalry between Octavian and Antony.

In early 31 BC, the year of the battle, Antony and Cleopatra were temporarily stationed in Greece. Mark Antony possessed 500 ships and 70,000 infantry, and made his camp at Actium, and Octavian, with 400 ships and 80,000 infantry, arrived from the north and occupied Patrae and Corinth, where he managed to cut Antony’s southward communications with Egypt (via the Peloponnese) with help from Marcus Agrippa. Octavian previously gained a preliminary victory in Greece, where his navy successfully ferried troops across the Adriatic Sea under the command of Marcus Agrippa. Octavian landed on mainland Greece, opposite the island of Korkyra (modern Corfu) and proceeded south on land.

Trapped on both land and sea, portions of Antony’s army deserted and fled to Octavian’s side (daily), and Octavian’s forces became comfortable enough to make preparations for battle. Antony’s fleet sailed through the bay of Actium on the western coast of Greece, in a desperate attempt to break free of the naval blockade. It was there that Antony’s fleet faced the much larger fleet of smaller, more maneuverable ships under commanders Gaius Sosius and Agrippa. Antony and his remaining forces were spared only due to a last-ditch effort by Cleopatra’s fleet that had been waiting nearby. Octavian pursued them and defeated their forces in Alexandria on 1 August 30 BC—after which Antony and Cleopatra committed suicide.

Octavian’s victory enabled him to consolidate his power over Rome and its dominions. He adopted the title of Princeps (“first citizen”), and in 27 BC was awarded the title of Augustus (“revered”) by the Roman Senate. This became the name by which he was known in later times.

As Augustus, he retained the trappings of a restored Republican leader, but historians generally view his consolidation of power and the adoption of these honorifics as the end of the Roman Republic and the beginning of the Roman Empire.

Note: Shakespeare’s Antony and Cleopatra is of course relevant here.

Essay 25: Movies as a Kind of Second University

If you take movies and “turn them inside out” or “upside down” you can extract a deep education from them.

Think of the dimension of “economic botany” (i.e., plants and trees and shrubs and bushes and vines) which produce profitable or lucrative crops and think how one can look at many movies from an “economic botany” perspective when you decide to put the main plot or nominal story on the back-burner and bring forward the plant aspect.

Think of The Bounty, the 1984 version with Anthony Hopkins as “Bligh” and Mel Gibson as “Fletcher Christian.”

In the opening scenes of the movie, Bligh meets Fletcher Christian at some festive occasion, takes him aside and tries to recruit him for a voyage to Tahiti. He (Bligh) explains that the purpose of the voyage is to bring breadfruit seedlings from Tahiti to Jamaica because the cost of feeding the laborers or slaves is becoming prohibitive. They need to lower the subsistence costs in the Caribbean plantation system by the introduction of these seedlings (economic botany).

When the mutiny takes place, there’s a scene where some of the mutineers throw the breadfruit trees from Tahiti off their ship HMS Bounty, wangled off the King of Tahiti, into the ocean thus destroying the mission of that voyage.

In the movie The Hawaiians, the wealthy planter played by Charlton Heston, gets into a “mini-lecture” on pineapples and how they don’t originate in Hawaii, as people suppose, but were brought in by unknown sailor-settlers from distant South Sea islands.

King Cotton” is a major player in many American movies since cotton and tobacco are among the mainstays of the Southern economy (think of Henry Fonda in Jezebel, set in the immediate pre-Civil War era).

Think of the French movie Indochine from 1992 which is based on colonial rubber crops and plantations:

“In 1930, marked by growing anticolonial unrest, Éliane Devries (Catherine Deneuve), a single woman born to French parents in colonial Indochina, runs her and her widowed father’s (Henri Marteau) large rubber plantation with many indentured laborers, whom she casually refers to as her coolies, and divides her days between her homes at the plantation and outside Saigon. After her best friends from the Nguyễn Dynasty die in a plane crash, she adopts their five-year-old daughter Camille (Ba Hoang, as child). Guy Asselin (Jean Yanne), the head of the French security services in Indochina, courts Éliane, but she rejects him and raises Camille alone giving her the education of a privileged European through her teens.” [from Wikipedia]

Coffee-growing, coffee storage, coffee prices on the world market, coffee bush vulnerabilities might be seen as the larger context of the 1985 movie Out of Africa and might be though to subsume the romantic “musical chairs” of the romantic story. Like the rubber in Indochine, the European colonial hold on the less developed world is the political context.

The Letter is a 1940 classic movie based on the novel by Somerset Maugham. Rubber-growing is at the center of the romantic story:

“On a moonlit, tropical night, the native workers are asleep in their outdoor barracks. A shot is heard; the door of a house opens and a man stumbles out of it, followed by a woman who calmly shoots him several more times, the last few while standing over his body. The woman is Leslie Crosbie, the wife of a British rubber plantation manager in Malaya; the man whom she shot is recognized by her manservant as Geoff Hammond, a well-regarded member of the European community. Leslie tells the servant to send for her husband Robert, who is working at one of the plantations. Her husband returns, having summoned his attorney and a British police inspector. Leslie tells them that Geoff Hammond ‘tried to make love to me’ and that she killed him to save her honor.” [from Wikipedia]

Sugar growing in the Caribbean and the ins and outs of annuities are at the core of several miniseries on TV based on Jane Austen novels such as Mansfield Park.

In other words, humanity and its plants are a deep theme of human as well as film history.

This ability to make larger and deeper inferences as you sideline the romantic doings, is part of making movies into a kind of “second university.”