La espada de Lancelot

In and around the castle Camelot, brave Cornel Wilde (as Lancelot) and virtuous Brian Aherne (as King Arthur) vie for the affections of lovely Jean Wallace (as Guinevere). The emphasis is more on swords than sorcery; and, the fighting is more violent than the production year suggests. Clearly, "Lancelot and Guinevere" was meant as a more realistic, for the times, "Knights of the Round Table" film. And, Mr. Wilde can be seem dismembering opponents. The sexual situations are not as advanced, however...

Ironically, the three stars are around 20 years too "advanced", in physiological years, for the parts; it's not too bad, though, as they only look around 10 years too old. They are still very attractive. And, so are two young cast members "introduced" to film goers, Iain Gregory (as Tors) and Michael Meacham (as Modred); they more than hold their own among the veterans. The producer/director/star credits should confirm any vanity production suspicions. It was re-titled "Sword of Lancelot" in the USA.

**** Lancelot and Guinevere (6/2/63) Cornel Wilde ~ Cornel Wilde, Jean Wallace, Brian Aherne, Iain Gregory

Richard Thorpe was, for MGM, the great specialist of medieval actioners, in the fifties, I mean. IVANHOE, KNIGHTS OF THE ROUND TABLE, QUENTIN DURWARD, and in the sixties Franklyn Schaffner gave us the awesome WARLORD, a milestone in medieval film history. This one, directed by Cornel Wilde, is purely awesome too, with a terrific production design and, as with many other Cornel Wilde's films as a director, some bloody, brutal short scenes. It is not cheesy at all, the acting is perfect and I am ashamed that this movie had never been released in France when it was released in Belgium, for instance; that's why it has a French title.... It has been aired only a couple of times since on cable movie channels, French TCM like channels. This is a true gem, gripping, riveting, with no length at all and outstanding battle scenes. Yes, Richard Thorpe would not have done better.

WHAT's this? Not a solitary comment on one of the really good medieval flicks of this period?

Actually it was one of the last, coming at the end of the cycle that had included KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE, PRINCE VALIANT, THE BLACK SHIELD OF FALWORTH, THE BLACK KNIGHT....all big moneyspinners in the 50's. It was also just 4 years shy of Richard Harris' beloved, but overblown musical CAMELOT.

The film performed disappointingly at the box office as audiences tastes had changed and biblical spectacle was all the rage by the early 60's. By '63 even THAT had waned, THE LAST DAYS OF SODOM AND GOMORRAH having closed the chapter on epics the previous year.

But hey, Cornel Wilde was a ragingly in-form Lancelot and pulled out all stops to impress his lady Guinevere. Course, her husband, King Arthur was majorly disgusted with both of them and things were messy there for a while. But you know, simply nothing overcame life's little set- backs in those days of yore, like crushing a few skulls in with a mace or broadsword and Lancelot was the champion after all. Some reviewers at the time took exception to Lancelot's french accent (Ah, my GuineVERE, u know 'ow I love you non?, ees not your coleurs 'anging from my lance-tip cherie?) Well ze franch accent or not, Cornel made as good a Lancelot as anyone ever has. This film rocked.

Think A KNIGHT'S TALE handled seriously!

Cornel Wilde should be awarded an "E" for effort in The Sword of Lancelot, a gabby, murkily photographed, and surprisingly bloody King Arthurer from 1962. Wilde as Lancelot sports a dandy little French accent that reminded me of the guy in the tower in Monty Python's The Holy Grail while he fights for the king, until he gets all gushy over the lovely Jean Wallace as Guinevere.

There is quite a bit of long-looking and love-talking and smooching between the real-life couple (and a tightly shot post-coital embrace with the two drippy and funky; boy, what did the folks at the Production Code think of that?), but after a good while, you're starting to grumble at the screen to GET ON WITH IT, whatever it might be.

The battles swing from the hokey to the excitingly bloody. You don't see many guys get their heads split down the middle in American movies in 1962, and Wilde does stage a couple of well-thought-out sequences, so there is some benefit to sitting through the kiss-kiss to get to the clang-clang.

The whole Arthurian legend is such an appealing story that even though Wilde has two strikes against him--a budget equivalent to pocket change (the film quality is so bad, I honestly checked my glasses to see if they needed cleaning) and the fact that most everyone involved looks a good generation too old for the story--he still brings some real love and passion to the screen.

Which is why The Sword of Lancelot should be taken at face value, and even though Jean Wallace is pushing forty in the picture (too mature for a maiden), all I can say is, "What a face!"

Cornel Wilde had an interesting career as stand-by leading man for Tyrone Power at Fox. His biggest role there was in Forever Amber, made when Power was doing another big budget spectacle, Captain from Castile and was unavailable. Wilde should have had a bigger career, but never got the breaks.

He and Mrs. Wilde (Jean Wallace who played Guinevere)dusted off the Lancelot and Guinevere story for another go. Wilde supposedly sank a lot of his own money in this film and lost a bundle. This kind of film really needs the full backing of a big studio.

MGM did this far better with Knights of the Round Table. Although Robert Taylor was a stoic Lancelot in that film, the overall production values were far better with that product. Wilde dusted off the French accent he perfected in The Greatest Show On Earth and played Lancelot properly as a Frenchman. But Ava Gardner was a Guinevere to die for as opposed to what Mrs. Wilde did with the part.

Brian Aherne plays a noble Arthur. But Stanley Baker and Anne Crawford as Mordred and Morgan LeFay were light years better than the two who played the parts here.