O Homem de la Mancha

This is one of my favorite movies of all time. It saddens me that there are those out there who think this movie was horrible. How can you watch O'Toole give his speech: "Maddest of all: to see life as it is and not as it should be!" and not be brought to emotion? This movie is not exactly like the theater version. However, if you note who made the screenplay changes, the song changes, etc., it's the same men who worked on the play. There are some good songs cut out. And Peter O'Toole and Sophia Loren are not the world's best singers. But this movie is brilliant. Coco is a wonderful Sancho, I love his voice and his expression. O'Toole is a fabulous actor and I felt like the prisoners in the end singing "The Impossible Dream." I own this movie. I encourage anyone who hasn't seen it to go get it and watch it. It has inspired me to try to do better in everything I do, and I often watch it and sing the songs to remind me to "see life as it should be." And if this movie needs a defender, I sign up for the job.

That was the response of one of the Inquisition prisoners to the inquiry, "Why are you here?" "I was selling lies about one country to fools in the other country who believed me when........." The fact that O'toole can't sing for diddly is OK by me. He played the mad wise old man so wonderfully. The subtle idea that they were all imprisoned by the Inquisition manned by beasts who performed torture in the name of Jesus, who was tortured in a similar Inquisition, "Are you the Messiah?", etc. leaves you reverberating.

Just as you also sit and think about the recursive show within a show within a show that you are seeing. We were shown one other aspect of the corrupt Christian church by the priest who plots with the niece and her fiance to bring the old man back to his 'senses' so he can legally will her his property.

There are so many lines in this movie that are momentous. Just the very idea in this jaded time that there are beliefs worth dying for, worth fighting the valiant but unwinnable battle against the implacable foe for, really knocks me out!!! Was anyone EVER so innocent, so pure?

I live in a country where the president, the Supreme Court and the Congress are filled with low life liars, and yet there are Americans here who are as noble as Senor Cervantes. There is another noble character in here that I would love to see analyzed by some of you scholars: that's the innkeeper/head of the prisoners. He has the respect of the mob, is a stable figure full of common sense, but yet is wise enough to respect the noble mad knight.

And then there's the squire, Cervante's neighbor. He reminded me of my feelings toward Bill Clinton, when he answered the question, "Why do you follow this madman?" "I like him. I just LIKE him." He's crazy, he's mad, he is engaged in an unwinnable fight, but "I like him". And Sophia Loren as the Mary Magdelene figure: those mauling scenes were excellently done, because they scared me and made me fear for her safety, as the men all but rape her. Maybe the reason they didn't was similar to the excuse I heard for my great-great-grandfather's 'kindness' toward his slaves in Opp, Al.: "You don't mistreat your horses, cause you want them to be around tomorrow healthy enough to work for you."

I checked this one out from the rental store, but I will now seek to buy it, as it's one that I will re-visit from time to time as I and my country changes. Will we ever have another time in the USA when 'good' people are able to make changes, when our planet is not allowed to be despoiled by our own government? Or is that to be left to another country whose Constitution is based on freedom, yet uncorrupted?

"When in the course of human events, it becomes necessary to shake loose the bonds of government..........." I'm afraid it's about time.

I have a difficult time grading this film. I have always been prejudiced against films of stage productions. I just find that to take one medium and try to force it into another is artistically dishonest. And this movie is very much a play. But, a play/film with Peter O'Toole, arguably the best Shakespearian actor of his generation. So, if anyone can pull this off, it's O'Toole. His performance as the madman of La Mancha is riveting, and Loren is both beautiful and brilliant in this one. They both get a 10. I can't fathom why neither received an Oscar nomination for their work in Man of La Mancha. (If not for The Godfather, O'Toole would have won an Oscar the following year for The Ruling Class.) He never made a bad movie. So, this may be the only exception to my rule against cross-genre productions, and it rightfully should be considered a must-see Classic.

Bringing big Broadway musicals to the screen has always posed tremendous problems for film makers. The results have by and large been unsatisfactory, with few exceptions. The late 60's brought us "Camelot", (67),"Hello Dolly" (69) and "Fiddler on the Roof" (71), all films adhering to the unquestioned rule that bigger is better, be it casts, sets and orchestrations. All three were overblown bores. Arthur Hiller's concept for "Man of La Mancha" is clearly the antithesis of what had become expected of the musical on film. He decided to use the film media not as a device for augmentation in a broad sense, but rather to focus in on the characters and bring them as close to the audience as possible using naturally many close-ups. They are the crux of the film; not massive sets, huge choruses or dazzling choreography. "Man of la Mancha" boasts two fine songs; the rest are pretty mediocre, which justifies Hiller's keeping the music as a device to serve the characters and not the other way around. From the very start with the credits appearing, the audience is geared up for one of those massively orchestrated rousing overtures. Yet, what we are offered is an underscored, almost chamber music style overture setting the tone for the entire film. The message as with chamber music is clear; the focus is on the content, not the trappings.

The critics by and large hated the film. Maltin in particular is uncharacteristically savage in his criticism. They simply were not prepared to accept an unorthodox approach to a huge Broadway success. While "Dolly", "Camelot" and "Fiddler" tend to be almost impossible viewing today, "Man of La Mancha" remains astonishingly fresh, very much vindicating Hiller's concept of this much maligned and misunderstood movie.

Being so focused on character, the films success would lie with its principal players. O'Toole gives a bravura performance, one of his finest, while Loren too, is perfect in her role. Sure the soundtrack is not one to listen to in the way one would a Broadway musical. But both O'Toole's and Loren's shaky vocals are in perfect sync with the fragility of their characters and hence very human and very moving. If more Broadway musicals had been brought to the screen with such a clear concept as was "La Mancha", the movie musical may have enjoyed far greater success.

I must have a major blind spot because I loved this movie in 1972

when I saw it the first time and the second and the third time. Now

I have become an semi-regularly woeful countenanced man

myself and I love it even more. My heart started to stir watching

O'Toole's speech at the Oscars so I re-rented La Mancha even as

it was being removed from the active shelf at my local Hollywood

video. I took it home and played it for the youngest of my five

daughters, eleven year old Mary. She loves musicals as much as I

do. She got into it. I cried again. Sorry. I love this film. Like I said, I

must have a tin ear or a blind spot or goddamn it, maybe I'm right. Man of La Mancha is a 10 plus and a must for all O'Toole fans

which at this point should be about everybody who loves movies. Let the revisionism begin here. O'Toole and Loren> C'mon