Made at MGM as it was preparing for a transition from one of Hollywood's top factories to one that no longer needed a back lot and could make its few movies a year simply through a production office in a big L. A. skyscraper. Constant change in management (or mismanagement) destroyed MGM's reign slowly after the departure of Louis B. Mayer, and while they continue to make lavish epics like this, they focused more on style than substance so in reflection, the late 60's diminished their power in the industry.
MGM had dealt with the legend of historical England with films like "Young Bess" and "Knights of the Round Table", and those are remembered today as classy studio vehicles. But by the time this came along, films like "Becket" and "The Lion in Winter" benefited from independent production companies while others seemed rushed through without regards to detail.
For all of its action and glossy production, this film plods along, and in its view of facts (questionable here), the viewer is perplexed by certain details not fully gelling. David Hemmings, a fascinating young British actor, returns to ancient England, already having played the evil Mordred in "Camelot", and does his best to keep your eyes on him. It's obvious that he's trying extra hard to make sense of all this, something lacking in the script.
Prunella Ransome, as Alfred's wife Aelhswith, is beautiful but ineffective. Someone like Liv Ullman or Julie Christie may have added the spark that this character needed. A scene after her marriage to him where he decides all of a sudden to return to the priesthood and leave her a virgin results in an insinuated rape, making no sense. That is just one element of inconsistency that rules this film, making you hope that the real Alfred had more direction than the film does.
Even better than Hemmings is the young Michael York, playing the Danish leader who is Alfred's greatest threat. York (unrecognizable in a scraggly beard) is a fascinating villain, and seems to be enjoying eating up the scenery, something much needed in this slow moving film. His scenes bring much needed life to this film which not surprisingly was a huge flop. It's the spiritual conflict of Alfred's desire for the priesthood and his passion for power and revenge that works against the film. So much potential poorly executed, but still a fascinating failure.
MGM had dealt with the legend of historical England with films like "Young Bess" and "Knights of the Round Table", and those are remembered today as classy studio vehicles. But by the time this came along, films like "Becket" and "The Lion in Winter" benefited from independent production companies while others seemed rushed through without regards to detail.
For all of its action and glossy production, this film plods along, and in its view of facts (questionable here), the viewer is perplexed by certain details not fully gelling. David Hemmings, a fascinating young British actor, returns to ancient England, already having played the evil Mordred in "Camelot", and does his best to keep your eyes on him. It's obvious that he's trying extra hard to make sense of all this, something lacking in the script.
Prunella Ransome, as Alfred's wife Aelhswith, is beautiful but ineffective. Someone like Liv Ullman or Julie Christie may have added the spark that this character needed. A scene after her marriage to him where he decides all of a sudden to return to the priesthood and leave her a virgin results in an insinuated rape, making no sense. That is just one element of inconsistency that rules this film, making you hope that the real Alfred had more direction than the film does.
Even better than Hemmings is the young Michael York, playing the Danish leader who is Alfred's greatest threat. York (unrecognizable in a scraggly beard) is a fascinating villain, and seems to be enjoying eating up the scenery, something much needed in this slow moving film. His scenes bring much needed life to this film which not surprisingly was a huge flop. It's the spiritual conflict of Alfred's desire for the priesthood and his passion for power and revenge that works against the film. So much potential poorly executed, but still a fascinating failure.