Camelot

Beautiful music and strong performances from Richard Harris and Vanessa Redgrave, however they are not singers and it hurts the picture mightily, leaving you wondering how much better it could have been with Richard Burton, Robert Goulet and especially Julie Andrews. True Burton wasn't a singer either using the talk singing method that Rex Harrison employed on My Fair Lady so Harris' replacement isn't as glaring as Redgrave/Andrews or Nero/Goulet. Where the picture really runs into problems through is the lumbering pace set by director Logan. A fine director of drama but with no skill at setting the right tone for a musical although that didn't stop the studios from handing him several throughout the years ending with the disaster of Paint Your Wagon. Some of the costumes are truly amazing and justly famous but this can be a trial to sit through.

There's a reason why Hollywood in the late 1960s went into its worst recession since the direst years of the Depression in the 30s--it was lavishing ridiculous amounts of money on bloated musicals like this that totally *tanked* at the box office.

For some reason, the studios kept handing these big-budget adaptions of hit Broadway musicals to Joshua Logan to direct, even though they always ended up complete failures (check out the horrible use of color filters in "South Pacific" [1958], or Clint Eastwood and Lee Marvin *singing* in "Paint Your Wagon" [1969])). Like that later film, "Camelot" seems to go out of its way to cast its musical with stars who can't sing or dance to save their lives. Instead, the cast seems to be trying to tap into the interest in swinging "Mod" London of the mid-60s. (With Vanessa Redgrave and David Hennings, you have half the cast of Antonioni's "Blow Up" [1966]!) The film also tries to appeal to both a family audience *and* discerning adult viewers simultaneously. I can't imagine parents being happy about the frank earthy sexuality of "The Lusty Month of May," or the overt adultery of the plotline--but people looking for adult fare would be annoyed at the attempts at sweetness and light being thrown in as well.

Obviously, no one from either side was too happy, because this was a *big* flop for Warner Bros. when it came out. Seeing it in a *huge* theatre in 70mm may help maintain interest visually (the costumes are striking), but this will be lost if watching it on video (esp. if it's a "pan-and-scan" instead of a letterboxed version). This is a movie only for those who are die-hard musical fans that are willing to sit through anything--because this is one of the movies that effectively killed the genre's popularity.

I wish I had seen the original Broadway production of Camelot. As a lad the Broadway cast album was a treasured staple in our house, played over and over again by my parents. Can you imagine a cast led by Richard Burton, Julie Andrews and introducing Robert Goulet as Lancelot?

So why couldn't Warner Brothers sign the original cast from Broadway for the movie? Robert Goulet had in fact come to Hollywood and didn't set the world on fire, but the other two were already big box office names by 1967. Julie Andrews had won an Oscar for Mary Poppins and just did the Sound of Music. And Richard Burton was one half of the most noted show business couple of the Sixties with his wife Elizabeth Taylor.

Jack Warner, usually a smart guy, said that he didn't think that anyone would believe that two guys like Arthur and Lancelot would put a kingdom at risk for the love of Mary Poppins. So Julie wasn't even asked and Vanessa Redgrave got the call. She's certainly sexy enough, but she opted for the Rex Harrison talk/sing in doing Guinevere. If you have the video or DVD of Camelot play that and then listen to Julie Andrews sing from the original cast album. My favorite song from the score is I Loved You Once In Silence and Julie Andrews is at her best singing that song. Vanessa doesn't come close.

Ditto for Richard Burton and Richard Harris. Though in the case of Harris I think he was toning it down a mite for a clearly handicapped co-star in the vocal department. Harris later in his life toured extensively in various productions of Camelot as Arthur, virtually taking over the role originated by his close friend Burton.

The biggest hit from the Camelot score was If Ever I Would Leave You, sung by Robert Goulet. In 1961 you couldn't get away from that song being played on the radio right in the midst of all the rock and roll. Goulet also toured in various stock companies of Camelot and like both Burton and Harris revived it on Broadway. I don't think anyone ever asked Franco Nero to tour.

But Redgrave and Nero certainly created their own screen magic, they got involved with each other on the set. But folks this is a musical and musically they don't measure up.

David Hemmings takes over the role of Mordred from Roddy McDowall who did it on stage. His Mordred is a clever schemer, but a coward as well. For myself the best Mordred ever portrayed on screen was in Knights of the Round Table by Stanley Baker. Baker's interpretation of Mordred is light years from Hemmings, he's a schemer, but he's definitely no coward.

I love the score of Camelot and when it was filmed I only wish the singing was half as good as the Broadway show.

In Medieval England, a despondent King Arthur meets mentor Merlin - with wisdom confirmed by the presence of an owl perched upon his shoulder - in the forest. This leads to a flashback where castle "Camelot" figures prominently… Richard Harris (as Arthur) meets and marries Vanessa Redgrave (as Guenevere). They are blissfully happy, but she and newly knighted Franco Nero (as Lancelot) are unable to control their mutual attraction… The best thing about this film is the superb music, by Alan Jay Lerner and Frederick Loewe. But the best way to enjoy it is by obtaining a copy of the soundtrack featuring Richard Burton (as Arthur), Julie Andrews (as Guenevere), and Robert Goulet (as Lancelot) - the stars of the original Broadway cast...

The last time Jack Warner corralled a musical team was for the film version of "My Fair Lady" (1964). At that time, the studio passed on Ms. Andrews reprising her stage success because she was "not bankable." In both 1966 and 1967, Andrews was the undisputed #1 box office star in the world; in both years, she topped the annual "Quigley Publications" poll, with Mr. Burton also in the top ten. So, the story was changed to Andrews not being "sexy" enough. That the documented rapport between Andrews and her male co-stars in musicals (especially "Camelot") was unknown to filmmakers rings false; this isn't "Camille", it's a musical. Andrews, Burton and original "Camelot" residents like Roddy McDowall, Robert Coote and David Hurst are sorely missed.

***** Camelot (10/25/67) Joshua Logan ~ Richard Harris, Vanessa Redgrave, Franco Nero, David Hemmings

Now that movie musicals are in vogue again, maybe somebody at Warner Brothers will give the green light to remake this Lerner & Loewe spectacle that was poorly filmed in 1967.

This version is really a shame, considering how beloved the original 1960 Broadway musical is. Lerner & Loewe wrote some of their best songs for this show: "If Ever I Would Leave You", "Camelot", "What do the Simple Folk Do?" and "Fie on Goodness". But when making the film, producer Jack Warner chose tone-deaf actors, one of the worst directors in the medium, and had Alan J. Lerner rewrite his script, stressing the drama over the comedy (to the narrative's detriment) as well as throwing out half the score (including, sob, the show-stopping "Fie on Goodness"). Richard Harris and Vanessa Redgrave ARE great actors, and in their dramatic scenes, they are quite effective, but they most certainly are NOT singers, especially poor Ms. Redgrave (although, her orgasmic rendition of "The Lusty Month of May" has to be seen to be believed). Franco Nero, a beautiful, beautiful man, has a great opening with "C'est Moi", but then goes downhill from there. David Hemmings manages to bring some mirth to the film, but he's only in the last third, and by that time it's nearly too late (plus, they cut his only song!).

On the plus side, the film DID deserve the 3 Oscars it won: Best Scoring (if you take the voices out, the music sounds magnificent), Best Art Direction/Set Decoration, and Best Costume Design (the flick IS sumptuous). And the cinematography is rather breathtaking at times. (If you do watch it, try to see it on DVD, where it's letterboxed.)

So, if anybody from Warner Brothers, or any other studio for that matter, is reading this, give it another go: go back to T.H. White's original source novel and Lerner's original B'way script, keep ALL the songs intact, and hire actors who are proven singers, say, Ewan McGregor (he demonstrated his pipes in Moulin Rouge!) as Arthur, Kate Winslet (who scored a British top 10 hit last year) as Guinevere, and Hugh Jackman (who got his start in a West End production of Oklahoma!) as Lancelot. Please....