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as King Arthur
as Lancelot Du Lac
as King Pellimore
as Lady Clarinda
as Sir Lionel
as Sir Dinadan
as Sir Sagramore
as Lady Sybil
as King Arthur as a boy
as Sir Lionel
as Sir Lionel
as Tom of Warwick
Critic Reviews for Camelot
Exactly what we were promised: ornate, visually beautiful, romantic and staged as the most lavish production in the history of the Hollywood musical. If that's what you like, you'll like it.
To take all three hours, one probably needs a fairly tireless addiction to knights, toy castles, rapt pauses and battlefield farewells.
The film that essentially killed off Old Hollywood by virtue of being such a bad box-office flop.
... considered a classic by many and a disaster by others. I'm in that other camp.
Often so misguided that it threatens to become a spoof worthy of Monty Python or Mel Brooks -- when Arthur hisses, "I demand a man's vengeance!" he sounds exactly like Cloris Leachman bleating, "Death to King Louis!" in History of the World: Part I.
Audience Reviews for Camelot
Released just four years after Disney's The Sword in the Stone, this Warner Brothers production based on the Broadway musical about King Arthur and Guenevere feels like Richard Harris's Arthur is the animated Disney youth grown up complete with dream like memories of being taught about "the birds and the bees" by Merlin in the forest. Of course both share the source material of T.H. White's The Once and Future King series of novels. Based on this movie I don't have a very high opinion of Lerner's book and lyrics or Loewe's music. It is full of lavish costumes and sets that make for pure fantasy, but the music is awfully repetitive with what seemed like half of the total lyrics being simply the title word Camelot. This ideal place. Camelot. This dream-like Kingdom. Camelot. This castle of love and right. Camelot. Oh, Camelot! Where IS the round table and these other chivalrous knights?! Richard Harris's King Arthur is annoyingly petulant. Vanessa Redgrave's Guenevere is regal, yet also clearly a flower child of the 60s embracing free love. David Hemmings's Mordred is also a mop-haired rebel youth angry at the older generation, who fits better in the 60s counterculture than in the Middle Ages. Lionel Jeffries's King Pellinore, the maimed former King from the original myths, supplies goofy comic relief. The Italian Franco Nero plays the supposedly French Lancelot fairly well. He fights King Arthur. He pledges his full support to King Arthur. He falls in love with Guenevere. He jousts. He is an impossibly good-looking heartthrob, but his singing was dubbed by someone else named Gene Merlino. It was a horrible chore to sit through this three hour boring musical adaptation.
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. Some of the costumes are truly amazing and justly famous.
A rousing version of the Broadway musical. Perhaps the definitive Camelot version. It's very fresh and lively. The songs are great for the most part, with only a few sappy and boring ones to contend with. It's a delight to view the lushness of the sets and costumes.
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