The Hellenic and the Hebraic and the Modern, say rather the professor of Greek and the Salvation Army maiden and the maker of cannon.
The play is nearly always faulted by film critics, the film usually praised for carrying it along.
It presents the mirror of Pygmalion, the making of a man.
Pascal is very fine on his sets, twenty-five or thirty years ahead, and unsurpassable at Tower Bridge.
Naturally, Undershaft & Lazarus present an aspect of Menzies’ Things to Come, which is an ideal line for Shaw & Pascal to play.
The personages at the shelter are Dickensian, but Shaw’s Bill is not only converted, he gets an honest job as well.
Caesar and Cleopatra
It took a Frenchman for the classical pictures, and Pascal is said to be Hungarian.
Shaw’s screenplay is enough, but Pascal exerts himself to the utmost following the actors, who take this well in hand.
The woman question thus decided, in spite of the Alexandrian library burnt, will do.
There is no history at Alexandria, no Greeks nor Romans nor especially Egyptians, only Shaw, descending upon the scene like a deus ex machina, to sort it out.
The Library of Alexandria, the Pharos.
Caesar: He is to rule as he can, Cleopatra, he has taken the work upon him and will do it in his own way.
Cleopatra: Not in your way, then, without punishment, without revenge, without judgement?
Caesar: No, that is the right way, the great way, the only possible way in the end.