Deedee For me, Tyrone Power hit his stride as a major actor in his post WWII years, though towards the end of his contract with 20th Century Fox, the material seemed to become quite thin. Fortunately, he redirected his career when he got control of it and was able to do the stage work he loved and to make several terrific films before his untimely death in 1958. In Prince of Foxes, I think his maturity is seen to fine advantage in the role of a world-weary agent of Cesare Borgia. The script, though flawed by several glaring inconsistencies, is literate and makes for an engrossing historical drama. Power is excellent and so is Everett Sloan, a fascinating actor who's great in a dynamic secondary role. He and Power are a fine pairing with a unique chemistry that makes me wish they had done other films together. I can only take Orson Wells in small doses. Here he's just allowed a short time on screen to knit his brows, wrinkle his nose and chew on the scenery, feathers, grapes, his fingers, etc. Prince of Foxes was filmed on location in glorious black and white with a very rich look that I wouldn't change for the world. I had the great good fortune to travel in Italy, including Venice and San Marino (aka Citta Del Monte in the film), about ten years after this was made. Somehow,the cinematographers magically captured the effects of Italy's light and air just as I remember them. The score is lovely and evocative and along with the perfect visuals I get a pang of nostalgia every time I watch it. Prince of Foxes is a favorite that I heartily recommend to lovers of Old Hollywood-style historical drama. The book it's based on is good, too.

drjgardner 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.

deacon_blues-3 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!

edwagreen 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.