The Lion in Winter

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Starring: Peter O'Toole
Rated: PG (Parental Guidance Suggested)
Type: DVD
Directed By: Anthony Harvey
Studio: MGM (Video & DVD)
Release Date: 2001-06-19
Running Time: 134 minutes
Katharine Hepburn delivers an amazing (Variety), OscarÂ(r)-winning* performance 'that must be seen to be believed (Boxoffice) in this dazzling (Los Angeles Times) all-star film that is not to be missed. Behind the great stone walls of an English castle, the world's most powerful empire is in crisis. Three sons struggle to win their father's favoras well as his crown. King Henry II (Peter O'toole) and his queen, Eleanor (Katharine Hepburn), engage ina battle of royal wits that pits elder son Richard (Anthony Hopkins) against his brothers, while the cunning King Philip of France (Timothy Dalton) takes advantage of the internal fracturing in his bid to destroy their kingdom. *1968: Actress

Flawed But Brilliantly Performed And Wildly Witty
Originally created by writer James Goldman for the stage, THE LION IN WINTER opened on Broadway in 1966 with Robert Preston and Rosemary Harris in the leading roles--and in spite of critical admiration and obvious star power ran a scant 92 performances before closing with a box office thud. Even so, those who did see the play recalled it with tremendous interest, so it was not much of a surprise when the 1968 film version attracted two of the most famous names in cinema: Katherine Hepburn and Peter O'Toole. James Goldman adapted his original script for the screen, and the result was an Oscar-winner that lifted Henry II and Elenor of Aquataine out of stodgy history books and into mainstream conciousness.

Although the film was highly, highly praised at the time, and although it won numerous awards, seen today it has three flaws: Anthony Harvey's direction, Douglas Slocombe's cinematography, and John Bloom's editing, all of which wobble between merely acceptable and somewhat weak. In truth the ages of the actors are distinctly odd: Elenor was a decade older than Henry, and Hepburn is very obviously much too old and O'Toole much too young; and the ages of Anthony Hopkins, John Castle, and Nigel Terry are therefore just as out of place in the roles of their sons.

But none of this ultimately matters. Goldman's script is a masterpiece of history, contemporary zaps, and acid wit, and the cast plays it at full strength. Hepburn's performance is justly famous and among the most memorable of her entire career; O'Toole keeps pace and the ensemble follows suit.

The story concerns the bitter divide between Henry II and his queen Elenor, a woman of unequaled power and intelligence who was so annoyed with Henry's multiple affairs that she encouraged their sons to revolt against him--and came very close to knocking him off the throne. As the film begins, Henry has had her under lock and key for several years, lest she do it again; now, however, he summons her to his castle at Chignon for Christmas, and over the next few days they and their sons wrangle endless over which of the children should inherit the throne. The result is a very witty, very stinging portrait of a family that put the fun in disfunctional.

Although Goldman's version of this famous royal fued stays close to history, he is unapologetic in taking liberty with details; even the most casual historian knows perfectly well that Christmas wasn't celebrated in the 1100s at it is presented in this film, and indeed the whole thought that Henry would have bothered to temporarily release Elenor--much less seek her advice concerning their sons--is somewhat ify. But the whole thing is so beautifully written and played that one doesn't sweat the details. Any reviewer who does not also note the memorable score by John Barry, which adds so much to the film, would be highly remiss.

The film ends without resolution. If you are curious to know how it ultimately played out, upon Henry's death in 1189 the throne went to Richard Lionheart; Richard released Elenor, who actually ruled England on Richard's behalf during the crusades and who ultimately outlived all but two of her children: daughter Leonora, who became Queen of Castille; and son John, who ultimately inherited the English after Richard's death. John, of course, is best recalled as the king forced to sign the Magna Carta--and in folklore the cruel and wicked foe of the legendary Robin Hood.

Merry Christmas!
GFT, Amazon Reviewer

The real "Lion in Winter"
Although the recent version with Glenn Close and Parrick Stewart is very good, if you are a fan of "The Lion in Winter" as we are, the real version is the Peter O'Toole film. It is one of the favorite all time films -- romantic after a fashion.

Unforgettable Acting and Visuals
Want to see what real talent is; then take a seat, get out the popcorn, take the phone of the hook, and enjoy one of the best acting films of all times. Wonder why Peter O'Toole, Katharine Hepburn are to be remembered as top of the chart artists- watch this film. Wonder why Anthony Hopkins is revered today in both stage and screen performances - watch this film. This film is one of very few that truly earned its keep.

Top-notch period drama with great cast
THE LION IN WINTER was adapted for the screen by James Goldman from his stage hit. Director Anthony Harvey has a superb cast, with Peter O'Toole as King Henry II and Katharine Hepburn as Queen Eleanor. The first-rate supporting cast include young Anthony Hopkins and Timothy Dalton, both making their screen debuts. The original Panavision cinematography looks great in this anamorphic transfer and the Dolby Digital enhances the great film score by John Barry. Hepburn, Goldman and Barry all won Oscars.
Extras include the original trailer and a commentary by Harvey. One of the great period dramas, with some witty contemporary-sounding dialogue. Also a fine companion to BECKET.

Even better the fourth time!
I saw the stage play forty years ago, and it was great. And every ten years or so, I watch the movie and enjoy it more every time.

But I have a question...

Why did James Goldman portray Henry II as a bisexual and pedophile ("Alais, in my time I've known...contessas, milkmaids,
courtesans...and novices, whores, gypsies, jades...and little boys..."), and his son Richard the Lionhearted as a homosexual?

Couldn't the story have been just as interesting and compelling, or even more so, without the homosexual fabrications? There was no historical or artistic reason to include any of that.

So, why? Could it be that Goldman was himself homosexual? Was he a closeted forerunner of today's hollywood writers, who include a homosexual character in nearly every television show and movie, to advance their own social agenda?

What other reason would there be?