{"id":4165,"date":"2018-01-06T14:29:09","date_gmt":"2018-01-06T14:29:09","guid":{"rendered":"https:\/\/travelingboy.com\/travel\/?p=4165"},"modified":"2018-02-17T15:01:07","modified_gmt":"2018-02-17T15:01:07","slug":"lion-winter-look-back","status":"publish","type":"post","link":"https:\/\/travelingboy.com\/travel\/lion-winter-look-back\/","title":{"rendered":"The Lion in Winter \u2013 A Look Back"},"content":{"rendered":"

\"TheDirector:<\/strong> Anthony Harvey<\/a><\/p>\n

Writers<\/strong>: James Goldman<\/a> (screenplay), James Goldman<\/a> (play)<\/p>\n

Cinematography:<\/strong> Douglas Slocombe <\/a><\/p>\n

Music<\/strong>: John Barry <\/a><\/p>\n

Cast<\/strong>: Peter O’Toole<\/a>, Katharine Hepburn<\/a>, Anthony Hopkins<\/a>, John Castle<\/a>, Nigel Terry<\/a>, Timothy Dalton,<\/a> Jane Merrow<\/a><\/p>\n

The Lion in Winter \u2013 A Look Back<\/em><\/h2>\n

By Walt Mundkowsky<\/em><\/p>\n

Every chronicle play is a reduction of history. In a great chronicle play, this reduction means compression of events, intensity, selection \u2014 an artistic vision of history; Marlowe\u2019s Edward II<\/i><\/b> concentrates 24 years (1307-1330) into five credible acts. The<\/i><\/b> Lion in Winter<\/i><\/b> is another sort of reduction: It diminishes a struggle for the English crown into situation comedy. Since James Goldman wrote the original play as well as the movie script, the inanity of the former is preserved in the latter.<\/p>\n

\"Peter<\/p>\n

The action takes place at Christmas, 1183. King Henry II of England (Peter O\u2019Toole) decides to name his successor; his wife, Eleanor of Aquitaine (Katharine Hepburn), whom he has imprisoned for 10 years, joins him. So do his sons \u2014 Richard the Lion-Hearted, the scheming Geoffrey, and nitwit John. Also present are 17-year-old King Philip of France (Timothy Dalton) and his sister, Princess Alais (Jane Merrow), who is Henry\u2019s mistress. Early on Henry says of Eleanor: \u201cShe knows I want John on the throne and I know she wants Richard.\u201d The rest of the film is the clash of their wills. At the end of the holiday nothing has been resolved, and Eleanor is returned to her confinement. Henry tells her, \u201cYou know, I hope we never die.\u201d Eleanor: \u201cI hope so, too.\u201d Henry: \u201cYou think there\u2019s any chance of it?\u201d The movie ends with both of them laughing boisterously as her barge pulls away.<\/p>\n

\"Peter<\/p>\n

Problems inherent in this stuff are nearly insuperable; drama in which character is constantly sacrificed to the quip cannot be substantial, especially when both fall as flat as they do here. One-liners like \u201cHas my willow turned to poison oak?\u201d and \u201cWell \u2014 what shall we hang? The holly or each other?\u201d are plentiful, and Goldman plops a speech loaded with big ideas into the bitchy infighting (\u201cI\u2019ve found how good it is to write a law or make a tax more fair or sit in judgment to decide which peasant gets a cow. There is, I tell you, nothing more important in the world. (\u2026) I am sick of war\u201d). Modern locutions clang all over \u2014 \u201cFragile I am not; affection is a pressure I can bear.\u201d Goldman\u2019s attempt at history\u2019s verdict sits uneasily, containing as it does a compliment to himself (Henry\u2019s \u201cMy life, when it is written, will read better than it lived\u201d).<\/p>\n

\"Director
Director Anthony Harvey & O\u2019Toole<\/figcaption><\/figure>\n

Anthony Harvey\u2019s direction supplies the coup de\u00a0gr\u00e2ce<\/i><\/b>. His first film, Dutchman<\/i><\/b> (1966), contrived to coarsen the LeRoi Jones play \u2014 no small achievement. I cannot imagine how that prepared him for this, but the toolbox of arty clich\u00e9s runs unchecked. The film opens with a shot of the sky; suddenly crossed swords meet in the frame \u2014 cut to a close-up of Henry. \u201cCome for me!\u201d he shouts. As it turns out, he is just dueling with John. Or, after threatening to disinherit all his sons, Henry collapses next to a castle wall, the camera zooming back until he becomes a tiny, almost imperceptible figure. Several scenes begin with burning candles or torches; much of the film has a murky look, as if Harvey is trying to establish a Medieval visual style. Annoying overuse of the zoom lens emphasizes his priorities; the movie isn\u2019t allowed to unfold naturally. The camera zooms in from long shot to close shot, or zooms out from irrelevant close-up (a fist knocking on a door, the beak of a stone bird) to establishing shot, rather than taking us swiftly to the heart of the scene. Sometimes Harvey reminds us of other, better films \u2014 the gargoyles in close-up behind the opening titles are not unlike those at the end of A<\/i><\/b> Man for All Seasons<\/i><\/b>. But what worked there \u2014 cutting from the sound of the headsman\u2019s axe to the camera tracking silently past darkened gargoyles, accompanied by dry narration \u2014 is mere affectation here: unrelated to what follows.<\/p>\n

\"action<\/p>\n

This picture carries the marks of respectability and money. Peter Murton\u2019s art direction and Margaret Furse\u2019s costume design couldn\u2019t be bettered. The music of John Barry has its moments (the opening credits, the choral elements) but is often sticky. A book would be necessary for Douglas Slocombe\u2019s camera triumphs (he passed away in 2016, aged 103). His restrained work for Harvey makes eloquent use of dark, rich colors. I\u2019d put some cornball set-ups on the director. (\u201cMay I watch you kiss her?\u201d Eleanor asks. In the foreground, Henry in right profile and Alais in left, facing each other; in the background, Eleanor facing the camera. Henry and Alais embrace. The camera zooms past them into a close-up of the weeping Eleanor.)<\/p>\n

\"Katharine<\/p>\n

O\u2019Toole\u2019s Henry is elusive (many effects, scant continuity or line), with Hepburn always on the verge of bursting into tears, every speech like a lecture. Can an Oscar be far behind? The sons Richard and John aren\u2019t much help, but John Castle makes an adequately oily Geoffrey, perhaps a bit lacking in the \u201cwheels and gears\u201d Henry speaks of. He does contribute a nice touch, however. \u201cBe Richard\u2019s chancellor,\u201d Eleanor proposes. \u201cRot,\u201d he answers, gliding away. I have never heard a more mellifluous \u201cRot.\u201d<\/p>\n

\"Anthony
Anthony Hopkins and Timothy Dalton in younger days<\/figcaption><\/figure>\n

To escape the continual racket from the leads, we turn to Jane Merrow\u2019s Alais, a gentle creature fiercely refusing to be used by anyone. Her pleas to her lover (\u201cYou mustn\u2019t play with feelings, Henry. Not with mine\u201d) and to his wife (\u201cYou love Henry but you love his kingdom, too. You look at him and you see cities, acreage, coastline, taxes. All I see is Henry. Leave him to me, can\u2019t you?\u201d) touch us if not her listeners. Timothy Dalton is her equal as the young French king. His part is small but multi-faceted \u2014 unsure of himself on the surface (\u201cI am a king; I\u2019m no man\u2019s boy\u201d) but possessing a natural gift for intrigue, cold and calculating beyond his years. Had the whole enterprise been infused with the feeling and smarts of Dalton\u2019s acting, we\u2019d have something.<\/p>\n

I\u2019ll take O\u2019Toole\u2019s \u201cHenry II, Part I\u201d by no great margin. That would be Becket<\/em><\/strong> (1964).<\/p>\n","protected":false},"excerpt":{"rendered":"

Every chronicle play is a reduction of history. In a great chronicle play, this reduction means compression of events, intensity, selection \u2014 an artistic vision of history; Marlowe\u2019s Edward II concentrates 24 years (1307-1330) into five credible acts. The Lion in Winter is another sort of reduction: It diminishes a struggle for the English crown into situation comedy.<\/p>\n","protected":false},"author":45,"featured_media":4171,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[117],"tags":[676,674,673,107,672,108,671,675],"class_list":["post-4165","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-time-capsule-cinema","tag-anthony-harvey","tag-anthony-hopkins","tag-katharine-hepburn","tag-movie","tag-peter-otoole","tag-review","tag-the-lion-in-winter","tag-timothy-dalton"],"yoast_head":"\nThe Lion in Winter \u2013 A Look Back<\/title>\n<meta name=\"description\" content=\"The Lion in Winter is another sort of reduction: it diminishes a struggle for the English crown into situation comedy.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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