Os Cavaleiros da Távola Redonda

The legend of King Arthur has been told, and retold, by movie makers several times. This may have been one of the first tellings, using Technicolor coupled with Cinemascope and drawing heavily upon the pageantry of the days of chivalry and knighthood in England. The story is simple, relating the coming of the throne of his country by Arthur Pendragon, and his attempts to establish justice and peace in the war-torn, divided land he called England. His efforts are to no avail, as there is simply too much greed and distrust among the small kingdoms of the country to allow the rule of one person, but this film has some fun in the citing of the Arthurian legend.

The cast members for 1953 read like a star-studded list from MGM. Mel Ferrer portrays King Arthur, with the lovely Ava Gardner as his queen, Guinevere. Stanley Baker plays the villain in the piece, Mordred, a knight sworn to capture the throne for himself, even if it destroys the unity of England. Playing the role of the greatest knight member of the Round Table, Lancelot, was Robert Taylor, who seemed to relish the sense of justice, decency, and moral standards as no one else of the time seemed willing to do.

"Knights of the Round Table" is meant to be viewed as an enjoyable touch with the past and the days gone by. Worth a view or two.

When I used to teach world history, I invariably got questions such as "When are we going to learn about King Arthur?"...and invariably I had to explain to my students that there was no Arthur...at least when it comes to history. And, because there are many different fictional accounts of Arthur and his reign, the studio had lots of room to craft whatever sort of story they wanted...provided, of course, they included the familiar Arthurian characters.

I have an odd confession. Although I love history and have enjoyed such films as "Ivanhoe", "The Vikings" and "Robin Hood", I am not a huge fan of medieval costume dramas. I find, generally, they are pretty dull affairs...with too much emphasis on costuming and stilted dialog. Heck, my favorite Arthurian film is "Monty Python and the Holy Grail"! Keep this in mind as you read the rest of my review.

The film is the story of Sir Lancelot (Robert Taylor) and his career from joining King Arthur to saving Guinevere from captivity to marriage to betraying the king. It's all very familiar stuff if you are acquainted with the legends.

So is it any good? Yes and no. The costumes are nice and one of the horse battles is really nice. But it's also very cold and the dialog very dull and stilted....as I pretty much expected. I give it five stars simply because it looks nice....period.

Sir Thomas Malory's traditional tales of King Arthur and Lancelot are made even more commercially palatable with this costumed version from the British arm of Metro-Goldwyn-Mayer. The narrative has become so basic (and dull), presumably for mass consumption, that all we have left to respond to is the ornate production. Robert Taylor's Lancelot devotes himself to being Guinevere's champion (not that her husband--Mel Ferrer's vacuous King Arthur--would notice!), but Taylor seems to have wandered in from another picture; his diction is thudding and his hangdog face never brightens, not even in the presence of a ravishing Ava Gardner as Guinevere (who doesn't so much flirt with Lancelot as she does beam and glow with silent affection). The overlong film is a sumptuous spread, and there's plenty of action, but the episodes fail to come together as a whole and the sound recording (Oscar nominated!) is barely adequate. Consequently, the legendary characters rarely come to life. ** from ****

The Arthur legend gets a grand production here, good photography and rousing battle scenes. The leads kind of go through the motions in their roles though, some of the supporting players really carry this film.

Robert Taylor was never comfortable in those 'iron jockstrap' movies as he called them. But he was the most dutiful employee MGM had and like Errol Flynn with westerns, Taylor just went with the flow. Funny thing is Taylor much preferred doing westerns as he reached his forties.

Was there ever a more beautiful Guinevere than Ava Gardner? I sincerely doubt it. If she never spoke a line in the film, you know this is a woman for whom you toss convention out for. Ava was in the middle of her tempestuous marriage to Frank Sinatra at the time, so I'm sure she was preoccupied.

And next to Richard Burton on stage and Richard Harris on the screen Mel Ferrer looks positively colorless. Not the guy to command the loyalty the legendary king was supposed to do.

But I did like the performances of Felix Aylmer as Merlin, Anne Crawford as Morgan Le Fay and Stanley Baker as Mordred. Felix Aylmer was never bad in anything he ever did, always a figure of wisdom and dignity in any role. Morgan Le Fay is quite the schemer here and Anne Crawford brings her to life. Sadly Ms. Crawford died only two years later of leukemia at age 36. American audiences probably only know her for this film, but she's fantastic.

But the best performance in the film has to be Stanley Baker. He was a rugged tough man in every film he did, good guy or bad guy. His Mordred has depth and passion and he's unrelenting in his plans to topple Arthur and the Round Table.

If they gave Oscars out for performances by animals than Robert Taylor's horse Varick would have won it that year. Except for Roy Rogers's Trigger, I don't think we've ever had a smarter movie horse. He's obedient and well trained and knight's horse certainly had to be back in the day. And he saves Taylor's bacon on one occasion.

It's a good film, not the best from either of the stars, but I think you'll like it overall.

This is another one of those lavish 1950s historical epics that achieves visual beauty and grand action but cannot muster up a bit of audience involvement. The tragedies of the Lancelot and Guinevere affair and Arthur's kingdom are lost in this bland re imagining.

The characters are thinly drawn and none of the actors emote even once. They all just read through the script flatly, not a shred of feeling to be found, Robert Taylor and Mel Ferrer being the worst offenders. The supporting actors steal the show.

Once again, the music, costumes, and sets are nice, but good production values cannot save a mediocre movie.