I find it hard not to love "Camelot," an epic, brassy, conventional yet exquisitely crafted old-fashioned musical. Not only does it tackle romantic woes better than its edgier contemporaries--it lacks, for one, the self-conscious awkwardness of "Bob and Carol and Ted and Alice"--it gives us stylish decor, masterful performances, and some of the best music ever to transition from Broadway to Hollywood. And it does so with great gusto and dynamism, thanks to the adaptation of Alfred Newman. But "Camelot" is most powerful when viewed as a fictional parallel to the state of Hollywood in 1967--one man ("producer" Jack Warner in real life, King Arthur in the movie) is trying to hold onto the beautiful dream of a once-glorious dreamland (Old Hollywood and Camelot). Maybe it didn't change the landscape of cinema the way "Bonnie and Clyde" or "The Graduate" did, but it does its part to preserve a wonderful tradition, and is a more-than-worthy addition to that canon.