Classic Hollywood didn't always do "business" well. Usually, it was too melodramatic or just plain boring. But in 1956, MGM took a swing at the cutthroat world of international mergers with The Power and the Prize. It’s a movie that feels strangely modern if you squint hard enough at the boardroom politics. Honestly, what makes this film stick in the memory isn't just the script—it’s the specific, slightly odd chemistry of the cast of The Power and the Prize. You had Robert Taylor, who was basically the face of MGM’s reliable leading men, paired with a European starlet and a legendary stage actor who could chew scenery without even trying.
The movie follows Cliff Barton, an ambitious executive caught between his ethics and a massive deal in London. It’s "The Suit" era at its peak.
Robert Taylor as the Moral Compass
Robert Taylor plays Cliff Barton. By 1956, Taylor wasn't the "pretty boy" from Camille anymore. He had this weathered, more cynical look that worked perfectly for a guy realizing his boss might be a sociopath. Taylor was the ultimate company man in real life, too. He stayed under contract at MGM for decades, which is almost unheard of. In this role, he has to balance being a shark in the boardroom and a romantic lead in the foggy streets of London.
It’s a tough act. If he’s too soft, you don't believe he’s a high-level exec. If he’s too hard, you don't care about his soul. Taylor hits that middle ground. He makes the corporate jargon sound like it actually matters to his heartbeat. You’ve probably seen him in Quo Vadis or Ivanhoe, but this is a much more subdued, psychological performance. He’s the anchor. Without his groundedness, the whole movie would probably float away into 50s fluff.
Burl Ives and the Art of the Corporate Villain
If Taylor is the anchor, Burl Ives is the storm. Most people know Ives as the voice of Sam the Snowman in Rudolph the Red-Nosed Reindeer or for his folk singing. Forget that. In this movie, he plays George Salt, the predatory head of the company. He is terrifying. Not in a "monster under the bed" way, but in a "I will ruin your life while smiling and offering you a cigar" way.
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Ives was a massive human being with a voice that rumbled from his boots. In The Power and the Prize, he uses that bulk to dominate every frame. He represents the old guard—the guys who thought winning was the only thing that justified existing. It’s a performance that pre-dates the Gordon Gekkos of the world. He makes you realize that corporate greed isn't a new invention. He was actually nominated for an Oscar a couple of years later for The Big Country, and you can see that same powerhouse energy simmering right here.
Elisabeth Müller: The European X-Factor
Then there’s Elisabeth Müller. She plays Miriam Linka. This was her big Hollywood debut, and MGM really thought she was going to be the next Greta Garbo or Ingrid Bergman. It didn't quite happen that way, but she’s luminous here. She plays a refugee, a woman with a "complicated" past that the corporate board tries to use against Barton.
Müller brings a vulnerability that the rest of the cast of The Power and the Prize lacks. The boardroom scenes are cold and metallic. Her scenes are warm and, frankly, a bit messy. It’s the clash between her world and Barton's world that gives the movie its stakes. If she wasn't believable, the whole "choosing love over money" trope would fall flat. She makes it feel like a legitimate choice.
The Supporting Players Who Rounded Out the Boardroom
You can't have a 1950s drama without a solid bench of character actors. These are the faces you recognize but can't always name.
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- Charles Coburn: He plays Guy Van Raden. Coburn was a master of the "grumpy but wise" archetype. He provides a bit of a counter-balance to Ives's sheer aggression.
- Sir Cedric Hardwicke: Playing Mr. Carew. Hardwicke was British acting royalty. Having him in a movie about an international merger gave the London scenes an instant shot of credibility. He doesn't have to do much; he just has to be Sir Cedric Hardwicke.
- Mary Astor: She plays Mrs. George Salt. Astor was a silent film survivor and a noir icon (The Maltese Falcon, anyone?). Seeing her as the wife of a corporate titan adds a layer of quiet tragedy to the film. She’s the one who sees what the "prize" actually costs.
Why the Casting Choices Mattered in 1956
The mid-50s were a weird time for movies. Television was eating Hollywood's lunch. To fight back, studios made movies bigger, wider (CinemaScope!), and more "adult." The Power and the Prize was part of that push. It dealt with things like McCarthy-era paranoia and the ethics of capitalism.
The producers needed a cast that could handle dialogue-heavy scenes without making the audience wish they were watching a Western. By putting Robert Taylor in a suit and letting Burl Ives loom over him, they created a visual tension that worked even when they were just talking about stock options. It’s a masterclass in using "type" to tell a story. You know exactly who these people are the moment they walk on screen.
The Director’s Vision: Henry Koster
We should mention Henry Koster. He wasn't in front of the camera, but he’s the one who wrangled this eclectic group. Koster directed The Robe and Harvey. He knew how to handle big personalities. In this film, he keeps the camera tight on the faces. He lets the cast of The Power and the Prize do the heavy lifting. There aren't many flashy stunts. The "action" is a raised eyebrow or a sharp retort during a meeting.
Koster’s style was always about the actors. He didn't let the set design (which was quite lavish for a business movie) overwhelm the human drama. He focused on the friction between Taylor’s modern executive and Ives’s old-school tyrant.
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A Forgotten Gem Worth Revisiting?
Is it Citizen Kane? No. But it’s a fascinating look at how Hollywood viewed power before the 1960s changed everything. The cast makes it work. If you replaced Burl Ives with a lesser actor, the movie would lose its teeth. If you didn't have Robert Taylor’s stoic charm, it would be too depressing.
The film serves as a time capsule. It shows us a world of rotary phones, heavy wool suits, and the beginning of the "global" economy. It’s also a reminder that the "prize" usually comes with a receipt that most people can't afford to pay.
How to Watch and Analyze The Power and the Prize Today
If you're looking to dive into this era of cinema, don't just watch it for the plot. Watch the performances. Here is how to get the most out of your viewing:
- Pay attention to the power dynamics in the blocking. Notice how Burl Ives physically takes up more space in the room than Taylor, even when they are supposedly equals. It’s a classic power move used by directors to show who is really in charge.
- Look for the subtle critiques of 1950s social norms. The way the company reacts to Müller’s character is a direct reflection of the "Red Scare" and the xenophobia of the era. It’s handled with more nuance than you’d expect for 1956.
- Compare Robert Taylor’s performance here to his earlier work. It’s a great example of an actor transitioning from a "matinee idol" to a "character lead."
- Check out the source material. The movie was based on a novel by Howard Swiggett. Seeing how they condensed a dense business book into a 98-minute drama is a lesson in screenwriting efficiency.
The best way to find the film nowadays is usually through TCM (Turner Classic Movies) or specialized classic film streaming services. It’s rarely on the big platforms like Netflix, which is a shame. It’s a sharp, cynical, yet ultimately hopeful look at what it means to be a "success."