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Camelot (1967)

6.7
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Reviews: 82 user | 31 critic

The story of the marriage of England's King Arthur to Guinevere. The plot of illegitimate Modred to gain the throne and Guinevere's growing attachment to Sir Lancelot, threaten to topple Arthur and destroy his "round table" of knights.

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(based on the play "Camelot" book by), (from "The Once and Future King"), 1 more credit »
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Title: Camelot (1967)

Camelot (1967) on IMDb 6.7/10

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Won 3 Oscars. Another 4 wins & 6 nominations. See more awards »

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Merlin the magician helps Arthur Pendragon unite the Britons around the round table of Camelot even as forces conspire to tear it apart

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Cast

Complete credited cast:
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...
...
...
...
Laurence Naismith ...
Pierre Olaf ...
Dap
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Lady Clarinda
Gary Marshal ...
Anthony Rogers ...
Peter Bromilow ...
Sue Casey ...
Lady Sybil
Gary Marsh ...
Nicolas Beauvy ...
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Storyline

The story of the marriage of England's King Arthur to Guinevere is played out amid the pagentry of Camelot. The plot of illegitimate Modred to gain the throne and Guinevere's growing attachment to Sir Lancelot, whom she at first abhors, threaten to topple Arthur and destroy his "round table" of knights who would use their might for right. Written by Ron Kerrigan <mvg@whidbey.com>

Plot Summary | Plot Synopsis

Taglines:

Relive the songs. Relive the romance. Relive the music. Relive the drama. Relive the magic. (re-release) See more »


Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

25 October 1967 (USA)  »

Also Known As:

Camelot - Am Hofe König Arthurs  »

Box Office

Budget:

$13,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(35 mm prints)| (70 mm prints)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Simon Oates, Michael Latimer, Robert Morris and Nicholas Pennell were interviewed for various knights. See more »

Goofs

When Arthur is required to go to the window to view Guenevere at the stake and is speaking to Mordred, his gold "cape" disappears. See more »

Quotes

[first lines]
A Knight: The rules of battle are not for Lancelot Du Lac, Your Majesty! Let us attack now while they sleep!
King Arthur: [firmly] We will attack when I give the command - at dawn.
[the knight leaves, and Arthur begins to talk to himself]
King Arthur: Oh, Merlyn, Merlyn, why is Ginny in that castle, behind walls I cannot enter? How did I blunder into this agonizing absurdity? Where did I stumble? How did I go wrong? Should I not have loved her?
[sighs]
King Arthur: Then I should not have been born! Oh, Merlyn, I haven't got much ...
[...]
See more »

Connections

Referenced in Dirty Dancing (1987) See more »

Soundtracks

Follow Me
(uncredited)
Lyrics by Alan Jay Lerner
Music by Frederick Loewe
Sung by chorus
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
'Very civilized' indeed...but where is the heart and soul in this presentation?
13 February 2011 | by (las vegas, nv) – See all my reviews

Expensive pomp and pageantry with somewhat of a tin ear. King Arthur of England knights prodigious jouster Lancelot, who has seemingly brought his deceased opponent back to life, vaguely aware that wife Lady Guenevere has fallen in love with the handsome hero; meanwhile, Arthur's illegitimate son Mordred schemes to bring down the fellowship of the Round Table. Lerner & Loewe's Tony-winning Broadway musical, adapted from T.H. White's book "The Once and Future King", feels heavy-hearted on the screen, weighted down with ornate songs (unevenly performed) and endless talk. The production is certainly an eyeful, but the (nearly) three-hour running time works against the film--it is just too long and lumbering. Vanessa Redgrave (with a whopper-crop of hair) enacts Guenevere with a slight sneer and a faraway look in her eyes; Richard Harris doesn't create romantic sparks with her, though he does fine with his soliloquies and wears his crown well. Franco Nero remains the biggest casting question-mark as Sir Lancelot...and his singing is by far the most painful. The passion of a sweeping epic is noticeably absent, however there are moments in the picture which do work, aided by the lovely choral orchestrations and the editing in the montages. ** from ****


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