Der Löwe im Winter

How lucky can you be to get a script like this and a cast like this all in the same movie? I've been shocked at some of the negative comments by other viewers. I was quite young when the movie came out, and didn't realize for years that Peter O'Toole wasn't the fifty year old he was playing, and Hepburn was exactly Eleanor's age at the time, so I fail to see the age mismatched some have mentioned. I'm fifty myself now, and I still find O'Toole perfectly plausible as a fifty year old in this movie. (Although, DAMN, he looked GOOD! What a gorgeous man!)

As for the 'anachronistic dialog,' it was extremely intentional and would have been totally wrong without it. To our ears, the possibly more elegant speech of the period would have sounded unnatural; only by using modern language could these people sound to us as they would have sounded to each other - normal.

The acting is brilliant - it would have been very hard to find any other actor who could share a screen with Hepburn without fading away to nothing, or an actress who could have done the same with O'Toole - only two of such power could stand up to one another. And this was absolutely right for these characters - as best we know, Henry and Eleanor were both that kind of person - brilliant, witty, strong-willed powerhouses. Then the supporting cast: Hopkins, Castle, Terry, and Dalton. Granted, they weren't known at the time, so Harvey, the director, may not have realized right off the bat that he had the cast of a lifetime, but he surely must have realized it fast.

Then there's the script. Like most of Oscar Wilde's plays, you could pick it up, open it to any page, and find at least half a dozen quotable lines. No, people aren't normally that witty in real life, but a) these were VERY bright people as historical fact, and b) it's a play/movie! People don't speak in real life as they do in Oscar Wilde either, but it's enjoyable as hell to watch. Get over it!

Some things I love about the movie are that it's made clear that no matter what Henry tells Alys, Eleanor, or himself for that matter, his real love and true equal is always Eleanor, just as he is hers. Also that, despite the at least a dozen apparent power shifts in the course of the movie, at the end, ABSOLUTELY NOTHING has changed. And you can tell that with this bunch, nothing ever will change unless it's due to factors out of their control, like death.

A matter of slight historical correction to other user comments: Alys was legally betrothed to Richard; that's why she'd been raised by Eleanor.

A historical correction to the script is that John, while thoroughly detestable personally, was not at all stupid, sniveling, or whining; his actual character was actually far closer to that of Geoffrey's in the script. Very little is actually known about the historical Geoffrey except that he was actually, if anything, more of a warrior than Richard, and of course, he died quite young, leaving behind two children, the son being the legal heir to Richard, and who died at the age of twelve or so, ostensibly of disease, possibly in reality of John. This wasn't considered that bad a thing, btw, as no one wanted a child as king, and John was the only one of the whole bunch who'd spent most of his life in England itself. The English nobles had seriously resented both Henry's (in his later years especially, as he tried to carve an inheritance for John out of Europe in general, France in particular) and Richard's neglect (Richard had barely set foot in England in his entire life, and was utterly indifferent to it except as a source of revenue). Also, of course, there's no historical evidence for an affair between Henry and Alys EXCEPT that I've read at least one source suggesting that Richard used this as an excuse to not go through with the marriage itself. And there's CERTAINLY no historical suggestion that Richard and Philip had an affair, although it seems highly likely that Richard was gay insofar as he was sexual at all. Bastards of royalty were a dime a dozen in those days, but NONE are attributed to Richard, nor a whiff or rumor of any affairs he ever had. Both Henry and John, on the other hand, would chase anything wearing a dress, and this was considered perfectly normal and even admirable in a "bad boy" sort of way. However, John took it too far, resorting to rape and starvation of wives of political enemies, and this was one of numerous driving forces for the imposition of Magna Carta on him by his rebelling nobles. Ironically, by contemporary standards, at a national level John was a far better king than Richard (Henry at his best was better, but was too often not at his best, being too bent on conquest to bother to rule effectively what he already had). However, John was nonetheless personally a rather nasty man (to put it mildly), once again proving that the best men don't necessarily make the best rulers. His personal character and actions, more than his policies, drove his own nobles into nearly successful rebellion, resulting in Magna Carta, one of the great steps in English history.

Sorry for boring you silly with the history commentary - it's a period I've always found particularly interesting. You can wake up now; I'm finished.

Anyway, great movie in every sense - script, acting, score, cinematography, editing; it just doesn't get better than this.

Performed to absolute perfection as Henry II plays feudal family chess to select his future heir. With a dialogue as sharp as a dagger, as cold as winter, with greed and jealousy and treachery conjoined. You'll struggle to find a more captivating piece of cinema, or indeed one whose protagonists you'll be so keen to explore further once you've absorbed it.

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.

This excellent costume drama with box office success is set in Christmas 1183 . The medieval monarch Henry II Plantagent (Peter O'Toole which played again in Becket) encounters surrounded by astute and mean relatives who wish ambitious rewards . The king pretends announce his heir and invites his estranged wife Eleanor of Aquitaine (awesome Katharine Hepburn which took her third , she is the only movie star to win four Academy Awards) imprisoned by conspiracy . Eleanor married first to Louis VII , King of France , and subsequently Eleanor's marriage to Henry II , King of England . There also comes their throughly dislikeable sons and king Philip II of France (Timothy Dalton , screen debut . Everybody confronts wits over succession to the British throne and much else , including a game of verbal chess . The heir election between three sons , Richard (Anthony Hopkins , screen debut) , Geoffrey (John Castle) and John (Nigel Terry's first film role) will cause intrigues , hateful , blackmail and psychological manipulation . In spite of possession a kingdom spread all England and great portion France , there's one thing that Henry never can to control, his rebel family .

This film is a rich pageant of fun for drama enthusiastic and history lovers . This is a magnificent film inspired on real events and writings by James Goldman adapted from his own play , which deservedly won an Oscar . Superb drama with top-notch performances , duo starring gives triumphant characterizations . Fantastic and evocative musical score fitting to medieval times by John Barry with Academy Award included . Sensational production design shot on location and with an impressive castle ; furthermore , an atmospheric cinematography by Geoffrey Unsworth , reflecting splendidly Middle Age . The tale was marvellously directed by Anthony Harvey at his best film , but after this , he strayed into the critical , though not commercial hits . Remade recently for television in inferior version by Andrei Konchalovsky with Patrick Stewart (Henry II) and Glenn Close (Eleanor of Aquitaine).

I am a high school history teacher, and I use this film to give students insight to the way Medieval kings, queens, and princes plotted and schemed with and against one another, how marriages were arranged with political motives, and how the relationships between these self-important royals shaped the history of the time. When I first introduced the films plot to my student, I was met with apathy and predisposed boredom, but they quickly were caught up in the intrigue and plot twists. At each major turn (an impromptu wedding, a surprise revelation about one of the character's sexuality, etc.), the students were often literally gasping.

As for the film itself, I can not think of a movie with more solid acting from the headliners (O'Toole and Hepburn) to the other principal players (Hopkins, Dalton, Terry, and especially Castle), and even the other characters are well cast (Merrow as Alais is not especially solid, but she is at least adequate in her portrayal as "the only pawn" in this game of kings, queens, and knights).

It is, of course, not to be seen as wholly accurate historically, as it would be near impossible to achieve such for events that took place 800 years ago, but the major themes are true to form, and the film is wonderfully engrossing. Highly recommended!