The story of the marriage of England's King Arthur to Guinevere. The plot of illegitimate Mordred to gain the throne and Guinevere's growing attachment to Sir Lancelot, threaten to topple Arthur and destroy his "round table" of knights.
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>
During one rocky period in the film's production, David Hemmings came to collect Richard Harris from his house in the Hollywood Hills. When he arrived, he found Harris on a balcony above the swimming pool. "I'm going to jump", Harris announced. "You can't do that", Hemmings protested. "There's no water in the pool". Harris replied, "I don't give a fuck. I fucking hate Warner Brothers and fucking Hollywood, the people here are all fucking arseholes". Hemmings climbed out on to the balcony. "Are you sure you really want to do this?" Harris' face fell, and he said "No, I don't. Let's have a drink." Harris and Hemmings became life-long friends. See more »
Goofs
When Mordred first meets Arthur and Pellinore, Mordred's hat changes from being on his head to in his hands and then back on his head between shots. As Modred is speaking to Arthur about the thrones, Arthur is seen with his fingers on his forehead, in the next shot his hand is in a fist and on his mouth. Later in the scene, Arthur is squatting on his throne in one shot and then in the next shot one of his feet is down on the ground. 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 time. ...
[...] See more »
Alternate Versions
In the "30th Anniversary Edition" of the film, the opening credits fade out to a discordant, ominous musical note, as if anticipating something tragic about to happen. This is not the case on any other release of "Camelot", including the theatrical releases AND the DVD, in which the orchestral rendition of the song "Camelot" (as heard during the opening credits), fades out softly and peacefully. See more »
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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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 ****