The Dreamers of Lerner & Loewe’s Camelot (1967)

Hello, friends!

This is my first post of 2025, so Happy New Year!!

‘Tis the time for planning, dreaming and doing.

It’s also the time for staying in and wintering the cold months here in the Northern Hemisphere. I don’t know about you, but when the wind is whipping and the frost is thick, I am drawn to movies set in medieval times.

Towering castles, a roaring fire in the great hall, lush velvet pillows and fur blankets. Can you tell I’ve been busy decorating my home in this style? Minus the castle, that is 🙂

So as the snowflakes softly fell this past weekend, my mind immediately went to Camelot. A Tale of Knights and chivalry. Of might for right. Of dreams and their fate…

Richard Harris. Let’s start here.

Richard Harris is King Arthur of England. He doesn’t just play him, he becomes him.

A good man trying to lead his kingdom under the most difficult circumstances. Harris imbues the mythic figure with childlike enthusiasm and buoyancy that as the tragedy unfolds, his confusion, suffering, and grief are all the more achingly poignant.

“I’m too young and too old. Too old not to know that fears can be imaginary, and too young not to be tormented by them.” – Arthur

What’s interesting is that Camelot, itself a dream, is a place for dreamers. This is what our 3 leads have in common – big dreams.

Arthur was not born into royalty. His role as king was quite literally thrust upon him. He accepts the crown not because he wants to, but because he must. His dream? To create peace among the warring provinces of England, uniting the land and its inhabitants. A place where knights are called to protect and defend the citizens, no matter their station, instead of abusing their power as had been the practice before the code of chivalry began.

Effortlessly stepping into the role of Queen Guinevere is the luminous Vanessa Redgrave.

She seamlessly blends the mischievous, passionate nature of “Jenny” with a plaintive air and regal manner, delivering a captivating portrait of juxtaposition. She is right at home amongst the stately castles and flowing gowns accompanied by her real life knight in shining armor, Franco Nero, as Sir Lancelot du Lac.

The internal motivations and dreams of Guinevere are revealed in her songs. “The Simple Joys of Maidenhood” citing her penchant for excitement, danger, and her desire to be the cause of upheaval even if it means feuds, war, and bloodshed. This is sung with a wink, but we get the message: careful what you wish for, Jenny. Nearly everything she sings about comes to pass…

Then there is Franco Nero. As Lancelot, his dream is perfection of the body and soul, and he dedicates his life wholeheartedly to this pursuit. While seeking to perfect oneself is a noble cause, we hear in Lancelot’s amusing solo, “Cest Moi”, he declares himself “the godliest man I know.” We see the handwriting on the wall. Not realizing his own pride and fallibility will cost him dearly, setting him up for a rude awakening.

Nero’s performance has often come under harsh scrutiny when discussing Camelot. His interpretation might not be as three dimensional as Harris and Redgrave’s, but it works befitting his role and the limitations he overcame.

The Italian star was new to Hollywood and to the English language. Having learned his lines phonetically, I’d say he did extraordinarily well.

Despite his shortcomings, Lancelot is the friend and protector we would all want at our side – strong, loyal, smart, and invincible. He presents a convincing foil to the peace of Camelot. Nero entering the throne room riding a white steed is an indelible, breathtaking moment in film history where a picture might be worth more than a thousand words.

Upon a tapestry of immortal ballads from the Broadway team of Lerner and Loewe (Brigadoon), these three tell the doomed affair of legend.

There is a magic to Camelot that is hard to put my finger on.

Amongst the 60’s infusion of the Oscar winning production design and costumes by John Truscott, there is something that retains the magic, myth, romance, and heart of the Arthurian legend unIike any other adaptation I’ve seen.

Is it the sincerity of the screenplay by Alan Jay Lerner? The lush arrangements of the score by the great Alfred Newman (The Robe) and Ken Darby? The enchanted forest covered in a fresh blanket of snow where Arthur and Jenny meet for the first time? Or the rawness and chemistry between Richard Harris, Vanessa Redgrave, and Franco Nero that makes me feel the plight of these torn people equally?

Whatever it is, it works. And it keeps me coming back for more.

Director Joshua Logan (Picnic) excelled in capturing intense, complex emotions on the screen. Thankfully, none of the intimacy is lost through this larger than life production. The veteran supporting cast of Lionel Jeffries (Chitty Chitty Bang Bang), Laurence Naismith (Mary Poppins), and Estelle Winwood (The Producers) populate the fantasy with their unique brand of colorful charm.

Camelot always leaves me with dozens of questions and I’m amazed how it touches me. The thought-provoking moments linger long after the credits end. For in this world of make believe we’ve seen the strength and fragility of humanity where passions threaten to destroy dreams. Where love and loss, empathy and pride intertwine into a fateful legacy.

“I have won my battle. Here is my victory! What we have done will be remembered, you’ll see.”

Arthur

What are your memories of Camelot? Share them with us in the comments below!

This post is my contribution to We Love Musicals week hosted by Hamlette’s Soliloquy. Dance your way over to her blog for more musical entries!