The Lion in Winter, based on James Goldman's play about treachery in the family of King Henry II, is an intense, fierce, personal drama, directed with evident pleasure by Anthony Harvey.
Cataloging the vicious wrangling for inheritance one Christmas holiday, the action is mostly contained within one day. The all-powerful Henry II (Peter O'Toole), summons his politically ambitious family to a reunion in 1183, when a decision on succession is deemed advisable. This includes his exiled, embittered and imprisoned wife, Eleanor of Aquitaine (Katherine Hepburn), and three legitimate male offspring, along with his mistress and her brother, youthful king Philip of France. King Henry II schemes against the mother of his children, Eleanor to try to get his favorite son, a sniveling slack-jaw John (Nigel Terry), appointed as his successor while Eleanor hopes to position her favorite, the soldier genius Richard (Anthony Hopkins), as the heir apparent. Meanwhile, middle child, the reserved and quiet Geoffrey (John Castle) hopes to play them all against one another and come out victorious as the future king. The members of this tempestuous family jockey for position and brutally squabble among each other, rekindling every injury suffered and adding new, Homeric insults to their already bruised reputations.
In one day, the seven characters are stripped bare of all inner torments, outward pretensions and governing personality traits. Goldman blends in his absorbing screenplay elements of love, hate, frustration, fulfillment, ambition and greed. The relationships between people, though ambivalent, are ambivalent with a certain satisfying ferocity. Director Anthony Harvey's knowledge of the craft aids him in keeping the tension high and never letting the audience settle for long on an outcome in the constant feud, with twists, turns and plenty of incredible backstabbing.
Even though Terry, Castle and especially Hopkins are all at the top of their craft, this film is all about the thorny and turbulent relationship between Henry and Eleanor, whom he's had imprisoned to keep her from meddling with his empire. A marvelously flamboyant Peter O'Toole plays the revolting king to the hilt and holds his own against Katherine Hepburn in a witty, literate, and inventive script. Hepburn is simply magnificent as the scheming and shrewd Eleanor of Aquitaine. There is something about an actress with this degree of presence and a wholly distinct, pleasant and idiosyncratic voice that gets her through even misplaced weepy or extravagant scenes. Her verbal duels with the equally impressive O'Toole are spellbinding. Both play their scenes with great passion, vigor and expertise. Right from the first scene, they both show a wonderful relish for even the most mundane sarcastic line.
Despite feeling a bit stage-bound, The Lion in Winter is every bit as engrossing and watchable. It's a nuanced, gorgeous film that keeps you riveted right from the word go.
Cataloging the vicious wrangling for inheritance one Christmas holiday, the action is mostly contained within one day. The all-powerful Henry II (Peter O'Toole), summons his politically ambitious family to a reunion in 1183, when a decision on succession is deemed advisable. This includes his exiled, embittered and imprisoned wife, Eleanor of Aquitaine (Katherine Hepburn), and three legitimate male offspring, along with his mistress and her brother, youthful king Philip of France. King Henry II schemes against the mother of his children, Eleanor to try to get his favorite son, a sniveling slack-jaw John (Nigel Terry), appointed as his successor while Eleanor hopes to position her favorite, the soldier genius Richard (Anthony Hopkins), as the heir apparent. Meanwhile, middle child, the reserved and quiet Geoffrey (John Castle) hopes to play them all against one another and come out victorious as the future king. The members of this tempestuous family jockey for position and brutally squabble among each other, rekindling every injury suffered and adding new, Homeric insults to their already bruised reputations.
In one day, the seven characters are stripped bare of all inner torments, outward pretensions and governing personality traits. Goldman blends in his absorbing screenplay elements of love, hate, frustration, fulfillment, ambition and greed. The relationships between people, though ambivalent, are ambivalent with a certain satisfying ferocity. Director Anthony Harvey's knowledge of the craft aids him in keeping the tension high and never letting the audience settle for long on an outcome in the constant feud, with twists, turns and plenty of incredible backstabbing.
Even though Terry, Castle and especially Hopkins are all at the top of their craft, this film is all about the thorny and turbulent relationship between Henry and Eleanor, whom he's had imprisoned to keep her from meddling with his empire. A marvelously flamboyant Peter O'Toole plays the revolting king to the hilt and holds his own against Katherine Hepburn in a witty, literate, and inventive script. Hepburn is simply magnificent as the scheming and shrewd Eleanor of Aquitaine. There is something about an actress with this degree of presence and a wholly distinct, pleasant and idiosyncratic voice that gets her through even misplaced weepy or extravagant scenes. Her verbal duels with the equally impressive O'Toole are spellbinding. Both play their scenes with great passion, vigor and expertise. Right from the first scene, they both show a wonderful relish for even the most mundane sarcastic line.
Despite feeling a bit stage-bound, The Lion in Winter is every bit as engrossing and watchable. It's a nuanced, gorgeous film that keeps you riveted right from the word go.