 "a classic" | 2009-05-28 |
| - Reviewed By User: A312F3W5CR26ZK |
I saw this movie on TV and was spell bond, it was like I was attending a play. Had to buy the movie, so when I want to see real acting I can
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| "Old married King and Queen in a love-hate relationship" | 2009-05-07 |
| - Reviewed By tftn@earthlink.net |
The middle ages is not kind to divine right (robber baron) kings
who live by their wits and strength of arms.
Were there ever any royal "good sons" in England?
In this movie three kings of England appear: Henry II, Richard the Lionhearted and Prince John. We are told that Richard is gay
and that John is a buffoon, while the middle brother on who history is remarkably silent is a conspirator.
The classic interchange between Henry and Eleanor is probably what made this a great movie,
but the stagging, costumes and casting are just very, very good with
several great actors in the supporting role.
The dialog just tears holes in reality that seem beyond repair? |
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 "The power has not neither scruples nor ethic codes!" | 2009-04-07 |
| - Reviewed By higopa |
This remarkable retelling of acerbic wits from James Goldman's play has as central focus the dazzling performance of Mrs. Katherine Hepburn who (to my mind made her most towering masterwork along her well known artistic trajectory) as Leonor of Acquitaine who matches with her lovely hated husband Henry II (Peter O' Toole). This tormented relationship of struggling power deals with the well known conflict of interests respect the next successor of the Royal crown. The King has his eyes focused in John (Nigel Terry) a very singled-mind and easily handled, while Leonor has her hopes centered on Richard (Anthony Hopkins in his debut) , but the the third son Geoffrey also aspires and so, after the previous agreement established by Henry II and the King of France Philip the state of things will reach its boiling point.
We will presence this dark plot of personal ambitions, unstoppable thirst of power, overpowering greediness, betrayal and double crosses. Father versus son, brother versus brother, mother versus sons; a true scorpions ` nest which reminds a twist of fate respect the monumental Shakespeare's "King Lear".
The semiotic language is another remarkable aspect to cite. Watch for instance two clever sequences, the first one when John is relegated by his father in the middle of a rough discussion, and falls close to a cage of pigs, giving a regrettable speech. The other deals when the King in the middle of the night irrupts through the subterranean levels of his castle where the dogs bark just when the Real guards make their appearance.
The formidable cinematographic rhythm (although its undeniable theatrical nature), the fabulous illumination, the splendid script, accurate direction, the acidic speeches and this priceless cast make of this film a true classic and one of the most notable artistic achievements ever made.
A film that should not be absent from your invaluable collection.
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| "Sheer Delight" | 2009-03-17 |
| - Reviewed By User: AAYE34TCTNV2R |
| The older I get the more I love this comedy-drama about the competition among the three sons of Henry II (Peter O'Toole) and Eleanor of Aquitaine (Katherine Hepburn), over who will succeed Henry as King of England (and, at the time, much of France). Henry keeps Eleanor locked up in prison in England most of the year while he pursues romances with much younger women, but he brings her over to France for annual his Christmas court, and the sparring begins. Eleanor favors the competent but possibly homosexual eldest son Richard; Henry favors spoiled, bizarre John. Middle son Jeff is not even under consideration, to his great resentment. All three of the sons are happy to work with the conniving King Philip of France to betray their parents to get what they want. Line after line of witty, thoughtful dialogue woven into a dense exploration of power, politics, and family relationships in medieval Europe. It's almost impossible to imagine such an intelligent, tightly focused script being filmed any more, not by the studios, not by the independents. The castle is authentically primitive with mud, straw-strewn floors and mangy-looking dogs wandering everywhere. Hepburn and O'Toole's performances may seem hammy to some, but the obvious delight they take in each other is infectious. Although their marriage was motivated by politics (England wanted the vast European territory Eleanor stood to inherit), theirs was for many years a true love match. It's heartbreaking as they look back from their old age at the passion they once shared and confront the horrors their sons have become. At the end, after all their manipulations and maneuverings against each other to try to ensure that John or Richard will succeed Henry, it's clear that Henry and Eleanor still have great affection and respect for each other. Henry calls out to Eleanor as she sails back to her English jail, "I hope we live forever." You wish this remarkable, immensely entertaining couple would do just that. |
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| "Tennessee Williams meets Ivanhoe!" | 2009-03-12 |
| - Reviewed By cmndrnineveh |
This movie shares the top spot on my personal ten best list with "2001: A Space Odyssey". Play/screenwriter James Goldman had the idea of putting the spirit and dialogue of a Tennessee Williams family-centered drama into a well known medieval setting: The household of Henry II, Plantagenet, of England, brilliantly played by Peter O'Toole, and it works unlike any other medieval period piece you've ever seen!
The Plantagenet family is as dysfunctional as anything you've seen in "Cat On A Hot Tin Roof" or "Suddenly Last Summer", with covetous children, ("Excalibur's" Nigel Terry, "Blow-Up's" John Castle and Anthony Hopkins, doing a bad Richard Burton imitation,) lusting after their parents' land and power, and a king who has imprisoned his wife, Queen Consort Eleanor of Aquitaine, mother of his three sons, for ten years due to conspiratorial behavior. This role is played by the brilliant Katherine Hepburn.
This is topped off by a near familial connection with the truly Machiavellian, newly crowned king of France, Philip II, played by an unrecognizable Timothy Dalton. He plays the Plantagenets like a harp, corrupting the oldest, Richard (yes, the "Lionhearted",) and holding the betrothal of his sister to Richard over Henry's head like the Sword of Damocles. Through all of this, Henry and Eleanor spar with each other AND their sons over the heirs they prefer to succeed Henry, the king PLAYING like he favors the gimpish John so as to get concessions out of Eleanor and Richard, and Eleanor favoring Richard, who she has apparently turned into the ultimate momma's boy. Both of them generally ignore the vastly more presentable and level headed Geoffrey, whom Henry and Philip see as a bit of a weasel. Geoffrey makes his resentment for generally being ignored by Henry and Eleanor known throughout the movie, and you have to wonder, as the brood is portrayed by the actors here, why DID they disdain him?! Henry states HIS take on Geoffrey pretty succinctly: "Geoffrey...! There's a masterpiece! He isn't flesh, he's a DEVICE! He's wheels and GEARS...!"
The deep, personal bollides are thrown back and forth like ninja stars in this drama, gouging each character to the bone. Henry:"I'm vilifying you, for God's sake! Pay attention!!" Eleanor: "How many spindly, ricket-ridden, milky, wizened, dim-eyed, gammy-handed, limpid line of THINGS, will you beget?" Geoffrey: (Dripping sarcasm) "I know...you know I know...I KNOW you know I know. We know Henry knows, and Henry knows we know it. We're a knowledgeable family!" Eleanor: "Be Richard's chancellor!" Geoffrey: "Rot!" Eleanor: "Sons? That is the ONE THING of which I would think you'd have had enough! We could populate a country town with country girls who bore you sons! How many are there? Let me count the [...]!" John: "If I should suddenly burst into flames, there isn't a living soul who would pee on me to put the fire out!" Richard: "Let's strike a flint and see..." I'm not even sure "Who's Afraid of Virginia Woolf" was this entertaining, dysfunctionality-wise!
Geoffrey and John ally themselves with Philip and things really get heavy as they witness the most shocking scene in the movie from behind a tapestry in Philip's guest quarters. This scene may actually be the basis for the erroneous assertion that Richard the Lionhearted was gay. He probably wasn't. If he were, and considering that this was roughly taking place during the same period as the Spanish Inquisition was getting started, chances are both Philip AND Richard would have been excommunicated SOOOO fast, their heads would have spun, if not been lopped off!
O'Toole and Hepburn chew the scenery like pros, and you'll wonder why O'Toole didn't win an Oscar for best actor for what is easily his best role ever. This film revived Hepburn's career and launched those of Dalton, Hopkins and Terry. (And only won FIVE Academy Awards!)
NOWHERE will you find a more effective and entertaining movie with a medieval setting, and I defy you to come away from viewing this film without becoming a MAJOR fan of Peter O'Toole or Katherine Hepburn's prodigious acting talents!
HIGHLY recommended! |
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| "Flawed But Fascinating: Bitter Comedy, Brilliant Performances" | 2008-12-24 |
| - Reviewed By gft |
Originally created by writer James Goldman for the stage, THE LION IN WINTER opened on Broadway in 1966 with Robert Preston and Rosemary Harris in the leading roles--and in spite of critical admiration and obvious star power ran a scant 92 performances before closing with a box office thud. Even so, those who did see the play recalled it with tremendous interest, so it was not much of a surprise when the 1968 film version attracted two of the most famous names in cinema: Katherine Hepburn and Peter O'Toole. James Goldman adapted his original script for the screen, and the result was an Oscar-winner that lifted Henry II and Elenor of Aquataine out of stodgy history books and into mainstream conciousness.
Although the film was highly, highly praised at the time, and although it won numerous awards, seen today it has three flaws: Anthony Harvey's direction, Douglas Slocombe's cinematography, and John Bloom's editing, all of which wobble between merely acceptable and somewhat weak. In truth the ages of the actors are distinctly odd: Elenor was a decade older than Henry, and Hepburn is very obviously much too old and O'Toole much too young; and the ages of Anthony Hopkins, John Castle, and Nigel Terry are therefore just as out of place in the roles of their sons.
But none of this ultimately matters. Goldman's script is a masterpiece of history, contemporary zaps, and acid wit, and the cast plays it at full strength. Hepburn's performance is justly famous and among the most memorable of her entire career; O'Toole keeps pace and the ensemble follows suit.
The story concerns the bitter divide between Henry II and his queen Elenor, a woman of unequaled power and intelligence who was so annoyed with Henry's multiple affairs that she encouraged their sons to revolt against him--and came very close to knocking him off the throne. As the film begins, Henry has had her under lock and key for several years, lest she do it again; now, however, he summons her to his castle at Chignon for Christmas, and over the next few days they and their sons wrangle endless over which of the children should inherit the throne. The result is a very witty, very stinging portrait of a family that put the fun in disfunctional.
Although Goldman's version of this famous royal fued stays close to history, he is unapologetic in taking liberty with details; even the most casual historian knows perfectly well that Christmas wasn't celebrated in the 1100s at it is presented in this film, and indeed the whole thought that Henry would have bothered to temporarily release Elenor--much less seek her advice concerning their sons--is somewhat ify. But the whole thing is so beautifully written and played that one doesn't sweat the details. Any reviewer who does not also note the memorable score by John Barry, which adds so much to the film, would be highly remiss.
The film ends without resolution. If you are curious to know how it ultimately played out, upon Henry's death in 1189 the throne went to Richard Lionheart; Richard released Elenor, who actually ruled England on Richard's behalf during the crusades and who ultimately outlived all but two of her children: daughter Leonora, who became Queen of Castille; and son John, who ultimately inherited the English after Richard's death. John, of course, is best recalled as the king forced to sign the Magna Carta--and in folklore the cruel and wicked foe of the legendary Robin Hood.
Merry Christmas!
GFT, Amazon Reviewer
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