Based on a hit 1960 Broadway show which starred Richard Burton (who declined to resume the role for this film adaptation), Camelot is a mixed bag of a movie. Its songs are generally excellent, there are individually impressive sequences
but the whole is less than the sum of its parts. As Camelot draws to its climax, one can't help but feel a slight sense of disappointment; a feeling, perhaps, that the opportunity for something fabulous has been missed. It's a good film, yes, but not a brilliant one.
Reluctant King Arthur (Richard Harris) prefers to spend his time wandering in the marshes rather than carrying out his kingly duties. When he is betrothed to be married to Guinevere (Vanessa Redgrave) – whom he has never even met – he considers running away to avoid the marriage. Guinevere also has her doubts about the union and plots to run away. By chance, the two of them meet in the marshes and promptly fall in love. Later, they come up with the idea of forming a selective band of knights, the Round Table, where the greatest horsemen, swordsmen, archers and warriors can join up to protect the land. "Might for right" as Arthur proudly declares. Many knights are eager to join, one of the last being Frenchman Lancelot Du Lac (Franco Nero). Arthur is thrilled to have Lancelot among his trusty followers, but Guinevere initially dislikes the French knight, despising his too-perfect attitude and dedication and continual tall-stories about previous feats. However, following a remarkable joust during which Lancelot somehow revives a seemingly dead man, a flicker of affection develops between he and Guinevere. It eventually blossoms into a full-blown scandalous affair, and when Arthur learns of his wife's infidelity he must take the difficult decision of how to deal with her and her disgraced lover.
Much has been made of the decision to use mainly non-singing actors in this film. This inexperience is slightly noticeable during Harris and Redgrave's musical numbers, but not to such a degree that it destroys the film. Nero's songs are dubbed, perhaps wisely (his spoken dialogue is tricky enough to decipher due to his accent, so one assumes any singing he did in person must have been pretty incomprehensible). The film is spectacular and lavish throughout, with wonderful sets and costumes and a clutch of classic scenes. The jousting sequence in particular is quite brilliantly done. Unfortunately there are frequent dull patches too, where things drag on rather pointlessly and plot developments are hammered home with all the subtlety of a sledgehammer. The three hour running time is ultimately too long by at least 30 minutes, but amidst the over-indulgence there remain enough plus points to make Camelot worth a look.
Reluctant King Arthur (Richard Harris) prefers to spend his time wandering in the marshes rather than carrying out his kingly duties. When he is betrothed to be married to Guinevere (Vanessa Redgrave) – whom he has never even met – he considers running away to avoid the marriage. Guinevere also has her doubts about the union and plots to run away. By chance, the two of them meet in the marshes and promptly fall in love. Later, they come up with the idea of forming a selective band of knights, the Round Table, where the greatest horsemen, swordsmen, archers and warriors can join up to protect the land. "Might for right" as Arthur proudly declares. Many knights are eager to join, one of the last being Frenchman Lancelot Du Lac (Franco Nero). Arthur is thrilled to have Lancelot among his trusty followers, but Guinevere initially dislikes the French knight, despising his too-perfect attitude and dedication and continual tall-stories about previous feats. However, following a remarkable joust during which Lancelot somehow revives a seemingly dead man, a flicker of affection develops between he and Guinevere. It eventually blossoms into a full-blown scandalous affair, and when Arthur learns of his wife's infidelity he must take the difficult decision of how to deal with her and her disgraced lover.
Much has been made of the decision to use mainly non-singing actors in this film. This inexperience is slightly noticeable during Harris and Redgrave's musical numbers, but not to such a degree that it destroys the film. Nero's songs are dubbed, perhaps wisely (his spoken dialogue is tricky enough to decipher due to his accent, so one assumes any singing he did in person must have been pretty incomprehensible). The film is spectacular and lavish throughout, with wonderful sets and costumes and a clutch of classic scenes. The jousting sequence in particular is quite brilliantly done. Unfortunately there are frequent dull patches too, where things drag on rather pointlessly and plot developments are hammered home with all the subtlety of a sledgehammer. The three hour running time is ultimately too long by at least 30 minutes, but amidst the over-indulgence there remain enough plus points to make Camelot worth a look.