Robert Taylor is Sir Lancelot of the Lake, a knight of the round table, who falls in love with Ava Gardner as Guinevere, wife of Mel Ferrer as King Arthur. Love conquers all.
Mel Ferrer has been disparaged for his performance but, granted that he's not Olivier or Sean Connery, he's still not bad. So his voice is weak. So what? The operatic hero is always a tenor. Ava Gardner has little to do and only a little more to say in her whispery, sexy voice.
But the movie is about Robert Taylor as Lancelot, the chivalrous knight and babe magnet. Taylor had an interesting career, making his mark as Camille's lover with his empyrian good looks. In the 30s he was so handsome that questions arose about his masculinity. And, after all, he was born Spangler Arlington Borough. He put the queries and eyebrows to rest by appearing shirtless and hairy chested in a prominent movie magazine.
Then -- as it must to all men -- age came to Robert Taylor. His voice remained the same, continuing to operate within its narrow envelope, but his looks coarsened. Yet MGM kept him soldiering on in roles like this. He never disappointed because he never changed and he never got in the way of the scenery. As for the chemistry between Taylor and Gardner, both occupational surnames, it can best be described as "two people." Actually, the movie is about Robert Taylor but just barely. Running a close second is location shooting, photography, and wardrobe. You have never seen more color on the screen. The horses themselves are gaudily robed. And there is an abundance of action, ranging from duels to the death to pillow fights.
I don't know how closely it sticks to Arthurian legend. I gather there were several versions of all the legends. I once tried reading Thomas Mallory's "Le Morte D'Arthur" but it was awfully dull and inexpressive, like reading the log of a ship at sea.
Good luck and God speed.
Mel Ferrer has been disparaged for his performance but, granted that he's not Olivier or Sean Connery, he's still not bad. So his voice is weak. So what? The operatic hero is always a tenor. Ava Gardner has little to do and only a little more to say in her whispery, sexy voice.
But the movie is about Robert Taylor as Lancelot, the chivalrous knight and babe magnet. Taylor had an interesting career, making his mark as Camille's lover with his empyrian good looks. In the 30s he was so handsome that questions arose about his masculinity. And, after all, he was born Spangler Arlington Borough. He put the queries and eyebrows to rest by appearing shirtless and hairy chested in a prominent movie magazine.
Then -- as it must to all men -- age came to Robert Taylor. His voice remained the same, continuing to operate within its narrow envelope, but his looks coarsened. Yet MGM kept him soldiering on in roles like this. He never disappointed because he never changed and he never got in the way of the scenery. As for the chemistry between Taylor and Gardner, both occupational surnames, it can best be described as "two people." Actually, the movie is about Robert Taylor but just barely. Running a close second is location shooting, photography, and wardrobe. You have never seen more color on the screen. The horses themselves are gaudily robed. And there is an abundance of action, ranging from duels to the death to pillow fights.
I don't know how closely it sticks to Arthurian legend. I gather there were several versions of all the legends. I once tried reading Thomas Mallory's "Le Morte D'Arthur" but it was awfully dull and inexpressive, like reading the log of a ship at sea.
Good luck and God speed.