Perhaps it's a reflection of film-making values of the early 80s, or of British or Irish production; then again, maybe it's a reflection of the intent behind this production specifically: There is a simple earnestness to the movie that declines the more fanciful embellishments we may expect from a title of this nature if it were made now. The cinematography and sound design is quite fine, but bears a certain graininess that drains the utmost color and vibrancy from the presentation. Even more relevantly, the production design and art direction are wonderful, with the contributions behind the scenes of hair and makeup, costume design, and set design being especially impressive. Yet compared to what viewers would anticipate of a feature made in the 2010s, there's a mild sense of austerity to these aspects that makes it feel more tightly centered and self-encapsulated, like a fairy tale, and therefore more endearing in its way. And still, all this has one other effect to observe: the relative modesty of all the technical craft and rounding details allows the acting and the writing to stand out all the more. And with that, though 'Lovespell' may not be wholly essential, it's nonetheless worthy on its own merits.
One could possibly argue that the restraint and narrow focus of the picture makes it a little less easy to engage with, and become absorbed in, as we readily might with others. This seems like a small concession, though, as one kens that the only purpose with 'Lovespell' was to tell a beloved story in a manner that felt as true and honest as it could be. To that end, I can only offer my commendations to all involved for their sincerity, and the strength in the endeavor. The crew did fine work in all regards, and director Tom Donovan illustrates a fair guiding hand. Building from a famous narrative, screenwriter Claire Labine has penned rich, heartfelt dialogue that for its lexicon - and the actors' measured delivery - seems a swell effort to further transport the viewer to another time and place. Though obviously filling distinct archetypes, she wrote marvelous personality into the characters. And to tie all these together and make them complete, the scene writing that instructs the course of events resounds with strong, varied emotions, but also a strict attentiveness to the needs of the tale being communicated. Once more: a revelation 'Lovespell' is not, but it's more solid and engrossing than I expected as I began watching.
This brings us at length to the acting. To some extent in her very countenance but certainly in her vocal timbre, it's been well remarked upon (not least of all during the run of 'Star Trek: Voyager' on network television) that Kate Mulgrew bears a resemblance to screen legend Katharine Hepburn. I dare not make any comparison as to skill, but even only 24 years old at the time this picture was filmed, Mulgrew makes an impression with her poise, range, and nuance, to say nothing of the heart she brings to Isolt. Nicholas Clay carries less renown as a performer, but still very capably realizes lovestruck Tristan with believable unwitting fog as a man swept up in a tragic affair. And Richard Burton, a titan of cinema, wields inescapable presence and force of personality as King Mark that makes his maddened delivery all the more startling. As I said, for all the excellence of the production, it surely feels as though the fundamental writing and the performances were the real core here, and these stars prove it - but even those in supporting roles are terrific in bringing the saga to life.
The value in the movie well speaks for itself, without need for flourishes to heighten the drama. I can appreciate why that approach or appearance may not appeal to all appraisers, emphasized with quieter scenes (especially nearer the end) that rely on substantial dialogue to impart their meaning and impact. In fairness, despite the worth of the tale, the last third of the picture is so heavily defined by that softer air that it's hard not to feel as though the plot and viewing experience somewhat languishes, and suffers as a result. Yet the ending is well done, and all the same, more so than not this is well made, with great care put into many elements and steady acting that serves as a tent pole. It may not strike a chord with wide general audiences, but I for one found 'Lovespell' to be a deserving slice of cinema that, if less flashy than more recent fare, still holds up fairly well. If you happen to come across it, this is worth checking out.
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