CAMELOT is the latest fantasy/historical TV series to follow in the wake of PILLARS OF THE EARTH. It attempts to breathe new life into the Arthurian legends, making them fresh and sexy for modern audiences. It's not entirely successful – after poor ratings it was cancelled after the first series – but I found it never less than entertaining, even if it lacks the quality of something like ROME.
For much of the running time, CAMELOT plays out like a decent soap opera. There's adultery, murder, love, deceit, rivalry and betrayal, something for everyone. The cast is mostly populated by youthful, up-and-coming actors with a couple of more seasoned veterans thrown in along the way. Many people criticise Jamie Campbell Bower's Arthur for being a young and sickly-looking weed, but I didn't find him too bad at all and his transformation from mild-mannered country boy at the outset to ruthless and cold-blooded ruler at the end is a convincing one.
Surrounding Bower are a bunch of actors seemingly picked for their beauty, but it's fair to say they're pretty good actors too (American Philip Winchester, for instance, delivers a pitch-perfect performance as the loyal Leontes). Bald-headed Joseph Fiennes bags the role of Merlin, and he plays it with a sinister suaveness that doesn't disappoint. The arresting Eva Green stars as Morgan, the villain of the piece, and she shrieks, hisses and plots with the best of them; it's fair to say that Fiennes and Green steal every scene they're in.
Along the way we get some decent cameos (James Purefoy is particularly good as the larger-than-life Lot, while grizzled veterans Sean Pertwee, Liam Cunningham and Daragh O'Malley also appear) and some bloodshed and nudity that push this series firmly into the realm of a fairytale for adults. Historical realism is nowhere to be found but the show looks good, with decent money spend on the costumes. One thing it doesn't do very well is action, with one late-stage battle that looks extremely pathetic – literally half a dozen extras milling around a field. Never mind: CAMELOT works best when it focuses on the likes of Morgan's scheming, an ill-fated love triangle and good, old-fashioned escapism. I liked it, and I'm sorry it won't be coming back.
For much of the running time, CAMELOT plays out like a decent soap opera. There's adultery, murder, love, deceit, rivalry and betrayal, something for everyone. The cast is mostly populated by youthful, up-and-coming actors with a couple of more seasoned veterans thrown in along the way. Many people criticise Jamie Campbell Bower's Arthur for being a young and sickly-looking weed, but I didn't find him too bad at all and his transformation from mild-mannered country boy at the outset to ruthless and cold-blooded ruler at the end is a convincing one.
Surrounding Bower are a bunch of actors seemingly picked for their beauty, but it's fair to say they're pretty good actors too (American Philip Winchester, for instance, delivers a pitch-perfect performance as the loyal Leontes). Bald-headed Joseph Fiennes bags the role of Merlin, and he plays it with a sinister suaveness that doesn't disappoint. The arresting Eva Green stars as Morgan, the villain of the piece, and she shrieks, hisses and plots with the best of them; it's fair to say that Fiennes and Green steal every scene they're in.
Along the way we get some decent cameos (James Purefoy is particularly good as the larger-than-life Lot, while grizzled veterans Sean Pertwee, Liam Cunningham and Daragh O'Malley also appear) and some bloodshed and nudity that push this series firmly into the realm of a fairytale for adults. Historical realism is nowhere to be found but the show looks good, with decent money spend on the costumes. One thing it doesn't do very well is action, with one late-stage battle that looks extremely pathetic – literally half a dozen extras milling around a field. Never mind: CAMELOT works best when it focuses on the likes of Morgan's scheming, an ill-fated love triangle and good, old-fashioned escapism. I liked it, and I'm sorry it won't be coming back.