Der Löwe im Winter

The Lion in Winter, based on James Goldman's play about treachery in the family of King Henry II, is an intense, fierce, personal drama, directed with evident pleasure by Anthony Harvey.

Cataloging the vicious wrangling for inheritance one Christmas holiday, the action is mostly contained within one day. The all-powerful Henry II (Peter O'Toole), summons his politically ambitious family to a reunion in 1183, when a decision on succession is deemed advisable. This includes his exiled, embittered and imprisoned wife, Eleanor of Aquitaine (Katherine Hepburn), and three legitimate male offspring, along with his mistress and her brother, youthful king Philip of France. King Henry II schemes against the mother of his children, Eleanor to try to get his favorite son, a sniveling slack-jaw John (Nigel Terry), appointed as his successor while Eleanor hopes to position her favorite, the soldier genius Richard (Anthony Hopkins), as the heir apparent. Meanwhile, middle child, the reserved and quiet Geoffrey (John Castle) hopes to play them all against one another and come out victorious as the future king. The members of this tempestuous family jockey for position and brutally squabble among each other, rekindling every injury suffered and adding new, Homeric insults to their already bruised reputations.

In one day, the seven characters are stripped bare of all inner torments, outward pretensions and governing personality traits. Goldman blends in his absorbing screenplay elements of love, hate, frustration, fulfillment, ambition and greed. The relationships between people, though ambivalent, are ambivalent with a certain satisfying ferocity. Director Anthony Harvey's knowledge of the craft aids him in keeping the tension high and never letting the audience settle for long on an outcome in the constant feud, with twists, turns and plenty of incredible backstabbing.

Even though Terry, Castle and especially Hopkins are all at the top of their craft, this film is all about the thorny and turbulent relationship between Henry and Eleanor, whom he's had imprisoned to keep her from meddling with his empire. A marvelously flamboyant Peter O'Toole plays the revolting king to the hilt and holds his own against Katherine Hepburn in a witty, literate, and inventive script. Hepburn is simply magnificent as the scheming and shrewd Eleanor of Aquitaine. There is something about an actress with this degree of presence and a wholly distinct, pleasant and idiosyncratic voice that gets her through even misplaced weepy or extravagant scenes. Her verbal duels with the equally impressive O'Toole are spellbinding. Both play their scenes with great passion, vigor and expertise. Right from the first scene, they both show a wonderful relish for even the most mundane sarcastic line.

Despite feeling a bit stage-bound, The Lion in Winter is every bit as engrossing and watchable. It's a nuanced, gorgeous film that keeps you riveted right from the word go.

It is very rare to find an actor who has played the same historical figure twice. Charleton Heston was Andrew Jackson in THE PRESIDENT'S LADY and THE BUCCANNEER (1958). Edward Arnold was Diamond Jim Brady in DIAMOND JIM and LILIAN RUSSELL. Reginald Owen was Louis XV in VOLTAIRE and MONSIEUR BEAUCAIRE. Raymond Massey was John Brown in SANTA FE TRAIL and SEVEN ANGRY MEN. But only Peter O'Toole played the same historical figure in two major productions that were made only four years apart, and that showed the character seriously aging.

O'Toole had played King Henry II of England in BECKET (1964) as a young, vibrant monarch who makes the serious mistake of appointing his best friend to the one post that will make them enemies. The period that BECKET encompasses was roughly 1165 to 1171 (when Henry allowed himself to be whipped for the murder of Becket the year before - apparently at his orders). In THE LION IN WINTER (1968) he was King Henry some twelve years later. Henry is now the most powerful monarch in Western Europe, but he has problems of dynastic and political natures.

His power structure in 1183 is dependent on his hold of the marriage dower of his wife Eleanor of Aquitaine. In BECKET, Pamela Brown played Eleanor as a sharp tongued and jealous woman who arranged the murder of her rival Gwendolen (Sian Phillips), on the night Henry was going to have sex with her. Henry (who hates the sight of blood) has a nervous collapse upon seeing the results of Eleanor's activities. In THE LION IN WINTER Eleanor was played by Katherine Hepburn. Now older, she is still a match in terms of political abilities to her husband. He has let her out of her castle prison to visit him and their three surviving sons (Richard, Geoffrey, and John) as well as Princess Alais of France and her brother King Phiip Augustus of France.

Henry's family get-together is not for holiday reasons (although it is occurring at Christmas). He has taken a dower from King Philip's father King Louis for Pincess Alais (Jane Merrow) to marry his oldest son Richard (Anthony Hopkins). But Alais has become the mistress of the monarch, who is considering divorcing Eleanor and starting a "proper" family with his second wife Alais. Richard and his two brothers (John Castle and Nigel Terry) are not happy with this prospect - nor with dynastic ambitions of each other. Of the three sons, Henry favors John (Terry) over Richard, although Richard is the better fighter. The reason is that Richard is the favorite of his mother, and has been implicated in some of her attempts to stir up civil war against Henry. Geoffrey (Castle) has brains but he is untrustworthy and finds that he is constantly dismissed by both parents. And King Philip (Timothy Dalton) is furious that due to the highhanded actions of Henry his father was reduced in power in Europe, and he is forced to report to a man who is technically his vassal due to the French lands that Henry controls.

THE LION IN WINTER had been a Broadway success in the middle 1960s, starring Robert Preston as Henry. The film is a successful transition, with the elderly monarch and his elderly consort tearing at each other in a kind of medieval WHO'S AFRAID OF VIRGINIA WOOLF. O'Toole is wonderful as the still intelligent, vigorous, and bullying monarch he was in BECKET, except now he is facing his own mortality. Hepburn (who won her third Oscar for this film - one year after winning her second for GUESS WHO'S COMING TO DINNER and tying this time with Barbara Streisand for FUNNY GIRL) is able to display a woman capable of any political damage be it encouraging her sons to revolt or threatening future harm to Alais and any child she and Henry may have to torturing Henry with the suggestion that she (Eleanor) slept with Henry's father before they met.

Hopkins' hapless Richard is the most sympathetic of the three sons, with his humiliation when Philip maliciously reveals that Richard is a homosexual (the first time this trait was revealed in any film about Richard the Lion Hearted). Terry's John is properly "pimple faced" and immature on the surface, but showing when he betrays his father that two-faced ability that would lead to his disasters as King. Castle is properly sinister throughout - one realizes that both parents will not suggest him as heir because he'd kill them as soon as he could safely plan it out afterward. Dalton's Philip is galling to O'Toole, as he keeps showing that unlike his father he knows how to harm the British monarchy - by disgracing it's leading hero (Richard), and by simply waiting for time to take it's toll on his enemy Henry. And Merrow is the most sympathetic figure in the film, genuinely loving Henry but finding even he regards her as a dynastic pawn in the end. The movie was that rarity, a sequel as thoughtful and intelligent as the first film had been, and filling in the results of that first film's background and story very well indeed.

What were those Academy fools thinking?! They ignore a powerhouse performance by Peter O'Toole and trounce Anthony Harvey's inspiring direction! But the final indignity was in giving the best picture award to an over-praised, undeserving, insignificant musical called OLIVER! If they had a least half a brain in their heads they could've given to FUNNY GIRL but they only shoot themselves in the foot when the deserving go unrecognized. It only goes to show the Academy's just jealous. The script and Kate's performance at least were given the royal treatment but it still leaves bitter resentment when Cliff Roberston, one of Hollywood's most less-than-adequate actors cops the best actor away from O'Toole... possibly Hollywood's most underrated, not to mention unrecognized actors of the highest caliber. Hepburn's Eleanor of Aquitaine had witty lines, quiet but still present anger and fire underneath the surface but O'Toole as Henry II gave the more powerful performance... an aesthetic that echoed Taylor and Burton for WHO'S AFRAID OF VIRGINIA WOOLF? only Taylor was the gutsy performer and Burton doled out the cut-lows and the intellect. To coin a phrase from the British... "he (O'Toole) was bloody robbed!"

The story is set in Britain, 1183. Henry II is on the throne and has ten years earlier imprisoned his wife Eleanor of Acquitaine after co-conspirating a civil war against him. She and their three sons (Richard, the eldest, a brave warrior on the battlefield, whom Eleanor wants to succeed Henry as king; Geoffrey, the quietly vicious, unappreciated middle son of whom neither of them love with a plot for every occurrence and John, the piggish, dirty, thieving brat is their youngest whom Henry for some unknown reason wants on the throne) are all requested to appear at their palace of Chinon for the Christmas holidays. Also invited is young King Philip II of France whose elder sister Alais is the treasured and much-loved mistress to Henry. Philip wishes to have Alais mearried off to one of Henry's sons (preferably Richard) in order to form an alliance between England and France made between Henry and Philip's father, the late King Louis. But meanwhile, Philip is also plotting with all three boys and Eleanor to tear Henry's kingdom apart. Eleanor is merely in on it to get back at Henry for loving Alais (whom she had raised as a surrogate daughter) and the late Rosmund, an old rival of Eleanor's whom Henry replaced her with.

This film has it all: infidelity, betrayal, family dysfunction and a script that crackles with venom, wit and plot-twisting motivation. See it if only for O'Toole and Hepburn's first-rate performances.

I love this film. I love this film. I am not sure that I can say that phrase enough when describing this movie. Lion in Winter is quite simply one of the strangest and most beautiful movies that I have ever seen. It is some wierd amalgam of a 'home for the hollidays' type family drama, and Machiavellian political intrigue.

The essential plot is that it is 1183 and Henry II must declare his successor to the Plantagenet throne. He invites his wife, Eleanor of Aquitaine (played by Katherine Hepburn), who is in exile, and his sons to along with king of France, to Christmas dinner. Over the course of the evening truths are told and arguments are had, the film rolls over all of the conventions of the many genres that it plays with and turns them into something new and beautiful.

The film could have been written by Machiavelli himself, and often smacks of the Mandragola. The film demonstrates family disfunction within a very interesting, medieval paradigm. While the film is about issues such as family, loyalty and love, ultimately is most gratifying as a vehicle for O'Toole and Hepburn to chew the scenery and dig into a few truly juicy roles.

It is fantastic film that any lover of dialogue driven drama-comedy should rent and watch over and over again.

It's been eight years since I first saw this movie, and it is still my personal live-action gold standard (Lilo & Stitch being my animated film gold-standard). It combines drama, tragedy, razor-sharp comedy, great performances, and the best dialogue that has ever been spoken on film, period.

I found this movie quite by accident--I was a sixteen-year-old with a Katharine Hepburn fixation. She mesmerized me; I wanted to BE her--smart, beautiful, sexy, and unwilling and unable to take anything off of anybody (except for Spencer Tracy, but that's another story). Honestly, I had no idea that there really had been such a person as Eleanor until I saw this movie. After watching my heroine portray her, I was determined to find out, though...so I have Katharine Hepburn to thank for my discovery of a new personal hero, and for my passion for medieval history.

It is true that this movie is not 100% factually accurate, not only because movie making dictates tinkering with history to create an interesting film, but also because, unfortunately, not too much is known about Eleanor herself. In the middle ages, women, even powerful, intriguing women like Eleanor, were not considered "important" enough to merit full biographical treatment. Most of Eleanor's history is recorded in the context of her sons and husbands. A good deal of this history was written by her detractors--people who disliked or disapproved of her for one reason or another. The simple explanation is that they felt that as a woman, she overstepped the bounds of what was considered "acceptable behavior" for a woman of the period.

That being said, this movie is 100% spiritually accurate. It perfectly captures the intrigue, the complexity of emotions and relationships, and tone of the age and the situation at hand. Though the sharp and witty dialogue is often considered a historical anachronism, this is not strictly true. Contrary to popular belief, people WERE educated in the middle ages, even women, if they were fortunate enough to be brought up in noble households, as Eleanor was. She was a brilliant woman, raised in a household where poetry and intelligent conversation were staples (her grandfather, after all, was one of the first troubadours). Henry was an intellectual powerhouse as well--he was a voracious reader who was often caught reading in church instead of paying attention to the sermons! It is unthinkable that these two minds would have produced stupid children, and the notion that the entire family should have only spoken in grunts and simple phrases is equally ludicrous.

Though not historically accurate, as other reviewers have noted, the strength of this movie lies in it's perfect portrayal of some of the most fascinating and complex personalities in recorded history. Henry, Eleanor, Richard, et al., make today's political and royal figures seem like low-rent bumbling hucksters.