Peter O’Toole, pictured here in Lawrence of Arabia, passed away on Dec. 14, 2013
My plan for this week was to write a review on the Christmas classic It’s A Wonderful Life, but after the passing of legendary Irish born actor Peter O’Toole, who is best known for his amazing portrayal of T.E. Lawrence in the epic Lawrence of Arabia, I thought it would be fitting to turn my gaze to another darker Christmas movie, the 1968 historical drama The Lion In Winter, directed by Anthony Harvey.
Set during Christmas 1183, the movie follows an aging yet still strong King, Henry II (O’Toole), as he brings a large party together at the court of the Castle of Chinon. The group includes his estranged (and imprisoned) wife Eleanor of Aquitaine (Katharine Hepburn), his second oldest son Richard (Anthony Hopkins), two other children Geoffrey and John (John Castle and Nigel Terry – Excalibur), his mistress Alais (Jane Merrow), and the young King of France, Philip II (Timothy Dalton – James Bond, Hot Fuzz).
Over the Christmas holiday, Henry must name his successor to the throne, settle a dispute over the marriage and dowry of his mistress Anais with the King of France, and spend some time with the family.
Though we witness Christmas trees, presents and hear caroling, much of this movie is quite serious as everyone has their own agenda. Henry plans on naming his younger son John – a slouching, weak, wide-eyed, child-like pouter, to the throne (as he feels closest to him), yet the powerful, brutish and violent older boy Richard wants the throne for himself. Backing him in this quest is his mother. Geoffrey, the very smart son who has never received any affection from either of his parents, attempts to play all sides in order to gain the chancellorship or kingship from his brothers and parents. Anais is left praying and pleading for the future she hopes for (to remain with the king) as everyone else plots against each other.
What ensues is a complex game of conniving, planning, plotting, back-stabbing, treachery, fake-outs, threats and scheming. From hiding behind tapestries to secret liaisons which include sodomy, this movie has all of the drama one could want. Perhaps Geoffrey puts all of the game-playing into context best by stating, “I know. You know I know. I know you know I know. We know Henry knows and Henry knows we know it. We’re a knowledgeable family”.
The Lion in Winter is an excellent film that contains all one could ask for from an historical drama. The script, written by James Goldman (based on his own Broadway play), is one of my favourites. The dialogue is witty, crisp, intellectual and sharp – earning him an Academy Award. It does not feel like this was written forty-five years ago. For instance, when Eleanor arrives by boat at the beginning of the film, she states, “How dear of you to let me out of jail”, while Henry quickly retorts, “It’s only for the holidays”. Or to get you into the Christmas spirit, Henry says, “What should we hang . . . the holly or each other?” The script is packed with clever touches such as these. The score, written by John Barry (who composed many of the early to mid James Bond films), is majestic and powerful – winning him the Oscar as well.
On top of all this, the acting elevates the film to another level. O’Toole’s performance as the strong-willed and powerful King is excellent. Hepburn’s role as the sneakily conniving and sharp-tongued Queen is brilliant (she won the Oscar for Best Actress in a rare tie with Barbra Streisand for Funny Girl). Hopkins, as always, is great. When needed, he brings forth the forceful and violent tone his character is known for, yet at other times channels a more subdued and emotional performance. Castle plays the intellectual and oft forgotten son very well. Dalton is also superb as the quiet and underestimated young French King (his first film role ever).
The Lion in Winter is a stunning film that captures royal game-playing at its best. It boasts strong performances, a well-written script, a beautiful filmed-on-location setting and a powerful score. Peter O’Toole’s character Henry cherished the life he lived, and I believe the actor’s life echoed this. It is with this cheer that Henry bellows out to his wife at the end of the film, “I hope we never die . . . Do you think there’s any chance of it?” Sadly, no.