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In the annals of musical theater, there are more than a few tremendous scores. Among them is Lerner and Loewe’s “Camelot” which has more than its portion of expansive songs that shine away from the musical play.
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In 1964, Jack Warner produced “My Magnificent Lady” at Warner Brothers. It was an top-notch film, if a bit too cautious. The play was a phenomenon and Jack didn’t want anyone mucking about with it. Going to observe it was almost as absorbing as going to church, even though the film itself was tantalizing and pleasing to peep at.
Four years later, Warner attempted to do the same thing with “Camelot.” In many ways, he failed, but in a couple of others, he outshone “My Resplendent Lady” and many other ravishing movie musicals. First, but not foremost, he enlisted the talents of John Truscott to fabricate the film. No medieval story has ever benefitted from so comely a vision. His sets and costumes are among the finest — yet most realistic — ever created. Second, and this is the best share (for me) — he acquired the services of the finest composer/conductor Hollywood has ever produced. Alfred Newman had already won 8 Academy Awards prior to scoring “Camelot.” Newman was one of a handful of composers who invented film scoring in the 1930s and 1940s. As head of the Fox music department from 1940-1959, Newman had the best orchestrators, best musicians and best composers working for him at Fox than could be found anywhere else.
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For “Camelot,” Newman had a free hand, along with his associate Ken Darby who had worked with Newman for nearly 20 years, collaborating on such film musicals as “Carousel,” “The King and I” and “South Pacific.”
The reason I’m making such a fuss over this — in addition to the fact that “Camelot” earned Newman his 9th Oscar — is that “Camelot” rates as one of the best scored musicals in film history and on this DVD, you can hear the entire musical accumulate, free of dialogue and solo vocals, in 5.1CH stereo!
What separates “Camelot” from “My Stunning Lady” is that in the latter, Warner would not let conductor Andre Previn alter the basic orchestrations of the play. Previn had some leeway, and it really shows in the win when he cuts loose. By and huge, though, this did not include songs….objective musical underscore/transitions. Newman, on the other hand, virtually co-composed the entire win. Using the thematic material, he wrote a dynamic, Erich-Wolfgang-Korngoldian (”Robin Hood,” “The Sea Hawk,” etc.) underscore that rouses you, thrills you and makes you feel vast even if the film drama itself can’t quite live up to it.
Watching a film for this isolated find feature alone is something only die-hard music lovers could tolerate, but it’s there and can be enjoyed by anyone. Deem of it as a full-orchestra karaoke feature and you can vow your favortie songs backed by one of the finest Hollywood orchestras ever assembled!
I’ve always been partial to “Camelot” for the fetch, the sets and the gleaming presence of Vanessa Redgrave.
In truth, however, “Camelot” never looked as favorable in its first-run roadshow performances as it does on this DVD. This movie shimmers and sparkles and glows. It looks absolutely Modern. The sound does prove its age in spots.
If only Arthur didn’t urge around all the time calling Guinevere and Lancelot “Ginny” and “Lance.” (Lance. Ginny. Ginny. Lance.) . That almost ruins the film for me — that and Arthur’s eccentric blue behold shadow. And if only Hollywood had not entrusted another astronomical musical into the musically uninspired hands of Joshua Logan (one of Broadway’s greatest directors but whose heavy hand all but ruined the film versions of “South Pacific”, “Camelot” and “Paint Your Wagon.”)
It’s a whale of a movie. And the regain is one of the finest ever committed to film.
Yes, ‘Camelot’ is a flawed movie, but a MAGICAL one, nonetheless. It is too long, and Franco Nero’s dubbed singing stammer as ‘Lancelot’ is droll, and YET! Yet, we have RICHARD HARRIS, so perfect as the failing King Arthur, Vanessa Redgrave, never lovelier than in her role as the torn Guinavere, and David Hemmings, a dastardly ‘mod’ Mordred reeking havoc on the shocked Kingdom. Franco Nero (dubbing notwithstanding) brings a fabulous comedic touch to Lancelot, and with the sumptious sets and costumes, ‘Camelot’ really is a Resplendent film. It has been critisized for having a ‘Sixties’ feel to it, but the somewhat hippy-ish form impartial adds to the pleasure; and it REALLY doesn’t matter that Richard Harris is wearing Scheme to noteworthy blue eye-shadow - we’re in CAMELOT, for goodness sake! There may very well be a ‘legal limit to the snow’ there, but when it comes to make-up, no holds are barred! Oh, one can rob a MILLION holes in ‘Camelot’ - but why bother? It’s better fair to pour yourself a glass of mead, light some candles, keep ‘Camelot’ in your VCR and let Lerner and Loewes fabulous earn sweep you into a magical time which never existed. ‘Camelot’ is pure escapism, but it’s escapism with ‘heart’, and that heart belongs to Richard Harris. This movie is HIS, and years after first seeing this movie, when I imagine the face of King Arthur, the face that I ogle is Richard Harris’.
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