th Colbert's tenderness while the women of '63 identified with Taylor's authority. Cleopatra is portrayed in both films as a ruler who must use a man to achieve her goals. Both women portray Cleopatra as dependent on Julius Caesar and Marc Antony for various reasons. Colbert is portrayed as needing Caesar to be her "emperor" and "lover". She needs Marc Antony to use his connection to Rome so she lures him with love. It is as if Caesar lures Cleopatra just like Cleopatra lures Marc Antony. Taylor, on the other hand, portrays a Cleopatra who needs Caesar just as much as he needs her. In the case of Marc Antony, Taylor's admission of love for him is hardly as convincing as her love for power, however still acceptable. Cleopatra is not an entirely positive role model. In both releases she uses sex to get control. Hollywood has softened the political side of Cleopatra and exaggerated the mischievous sex goddess who is able to lure the leaders of Rome with her beauty. So while it is positive to have a woman in a powerful role, it is unfortunate that her political intelligence is drowned by childishness, sexual games and showy costumes and sets. By the time the '63 version was made, Cleopatra uses more avenues of control than just sex. She has far more power than she did in '34, but the focus is more on the spectacle of Elizabeth Taylor than Cleopatra's political aspirations.
             Colbert represents a playful, almost childlike Queen when she is first released from the rug; as if she used the rug more as a prank than as a creative entrance past the guards. Once out of the rug, she flirts more than she discusses politics. She plays with the catapult model like a child. When Caesars guard approaches, Cleopatra walks up to him and fondles part of his chest shield; he grunts. She is even flirting with the barbaric man servant. She supposedly has power but she exhibits very f...