Ivanhoe

I first came in contact with Sir Walter Scott's famed romance, Ivanhoe, through an animated version shown around the holidays. I fell in love with the story (mostly due to the inclusion of Robin Hood) and leapt at the chance to view any version of it, as well as read the original novel. The 1952 version was interesting, but not very faithful. The 1982 version was closer, but Anthony Andrews was a bit wooden and his feathered hair was out of place. This 1997 mini-series finally got it right, with both a faithful adaptation of the story and fine performances.

All the characters are portrayed well and are given greater depth than in the past. Gilbert is not just an evil schemer, he is a man torn by love and hatred. Ivanhoe is torn between two women and despised by his father. Gurd and Wamba are given greater roles and speak for the underclass. Prince John is the true schemer, longing for the kingdom he has watched over while his brother was off playing the soldier. Richard finally gets some of the criticism he deserves for abandoning his subjects for treasure hunts, disguised as "holy wars". Rebecca is wise beyond her years, but torn between a forbidden love of Ivanhoe and the affections of the tormented Gilbert.

This production captures Scott in all his romantic glory, and makes a great attempt at historical accuracy, with the inherent problem that the division of Norman and Saxon was mostly gone by this point in history. Still, we see that medieval life was cheap and conditions less than sanitary, though thankfully not to the point of a Terry Gilliam production. This is well worth viewing.

This BBC mini-series was tremendous fun, with a lot of attention to period detail and an outstanding cast. Highlights for me were the castle attack and another wonderful performance by Ralph Brown (surely the definitive Prince John?). Move over Niccolo Machiavelli!

This mini-series of Ivanhoe is that rare breed of production, a costume epic with fleshed-out characters we can believe in and care about. Lavishly filmed on locations in the United Kingdom, it's a project that appeals to the eye as well as the mind. And best of all, it's got really great bad guys.

There's nothing unusual about villains holding center-stage, but Ciaran Hinds' turn as the tormented Brian de Bois-Guilbert in Ivanhoe stands as one of the most complex and riveting evildoers you'll see on a screen.

Hinds' Guilbert is a fleshed-out Darth Vader, a valiant knight who's become jaded and abandoned youthful convictions after years of bearing the sword in a harsh world. He murders and plots, but can still be moved to anguish and despair.

Hinds' strong performance typifies this powerful presentation of Walter Scott's convoluted story of knights, castles, revenge and redemption during the reign of Richard the Lionhearted. The tricky-to-follow story is still there, but it hardly matters amid exciting chain-mail carnage, scheming monarchs and great characters.

Nothing can beat Sian Phillips (I Claudius) as Queen Eleanor, chiding her grown sons Richard and Prince John. Even evil princes can't talk back to mother. Christopher Lee is Lucard de Beaumanoir, head of the hard-praying, hard-fighting Templar Knights. Lee's piercing eyes and rich voice demand respect in his few scenes. It's truly a shame he hasn't been in more high-quality productions over the years. Susan Lynch (Cracker, Waking Ned Devine) offers another strong presence as Rebecca, the Jewess who enters the hearts of Guilbert and Ivanhoe. And it's refreshing to see such larger-than-lifers like Robin Hood and Friar Tuck look like real men for a change.

In the title role, Steven Waddington is stoic and strong, but through much of the story he's a wounded hero on the run. Shown in North America by A&E, this mini-series is now available on video. It's well worth seeing for anyone who wants meaty characters to go along with castles and swordplay.

There really isn't a great deal more to add to this that hasn't been mentioned in previous reviews.The cast is first rate;the script is quite good,AND extremely faithful to the original text,and all of the production values show professionalism of the highest levels.While the sets,props, and costumes lack the glamour and romantic aspects of the 1952 and 1981 productions,they demonstrate a gritty realism that shows a vivid historical verisimilitude.This was the way the Middle Ages really looked.

I was pleased to see that this adaptation included the character of Urfried/Ulrica,the Saxon noblewoman whose enforced collaboration and concubinage to the Norman brutes who massacred her family,husband,and daughter leads to psychosis and a horrifying revenge.Not a nice character,but a dramatically satisfying resolution.

HISTORICAL NOTE:The whole business of the enduring conflicts between the Normans and the Anglo-Saxons,125 years after the Conquest,was a total fabrication of Scott's.At the time when the novel was written,there was a movement in Scotland to attempt to keep Gaelic as an official language,used in legal and governmental capacities,on an equal basis with English.So the REAL conflict isn't between Normans and Saxons,but rather between English and Scots.And yet,there IS a pervasive belief that the Normans and Saxons were bitterly antagonistic.Such was Scott's influence.

After having been unduly assaulted by Jerry Zucker's unacceptable interpretation of British folklore in `First Knight' (1995) (qv) with an overaged Richard Gere doing his best – which is not much – to be a romantic young dashing philanthropic Lancelot, it was a blessing indeed to come across this 1997 version of `Ivanhoe' from the BBC, shown here over Christmas on a regional channel in two hefty parts.

Years ago I thrilled reading Sir Walter Scott's excellent adventure stories – Rob Roy, Westward Ho!, Ivanhoe, etc. A few days ago I thrilled seeing the written word converted into a brilliant film for TV. Magnificently photographed mostly in the north of England and the south east of Scotland, the film adheres faithfully to the 44 chapters of Scott's book, such that you could almost follow it on screen page by page. Superb directing by Stuart Orme, specialist in TV films and series, which produces convincing performances from all the actors. Battle scenes on the North York Moors, around the alleyways of Craigmillar and Doune Castles, astounding scenery somewhere up on the Northumberland coast, all added up to a dramatic telling of this legendary novel.

Probably one of the very best medieval tales I have ever seen on film: once again the BBC has shown it is capable of really high-class intelligent viewing. If you should doubt this, try the magnificent BBC production of Stendahl's great novel `Scarlet and Black' (1993) (mini) (qv) directed by Ben Bolt. Thoroughly recommendable. Just about the best that can possibly be put on television – or even at the cinema.