After watching the movie, I have some questions which puzzle me. And I have read some books about chivalry to find the answer to these questions. Now I want to talk about the relationship between knights and wars, courtly love. (Knights and war)I really enjoy this movie, especially the scenes of battle. As a Chinese, their fighting-pattern really impressed me. Our ancients used swords or spears to fight each other, but they didn’t. And I was really surprised at the way of war in medieval Europe. There are three battles in the movie. The first one is that Ivanhoe fights with other five knight. They aim or thrust a lance in a joust. You may think it is very easy, but as a matter a fact, if you want to make your opponent fall down, you need to practice much and have a clear idea of other's shortcomings. If you have courage, but without money , you cannot take part in it. The second battle of the Tuo Kuier Stone Castle is verymagnificent. This is a struggle between evil and justice. Almost everyone has appeared in the battle, and the battle completely unmask the evil of Norman. The third battle is the duel between Ivanhoe and Guilbert. This movie is only 106 minutes long but contain three battles, do you know why? From my perspective, it is a movie about knight, and war has close relationship with knight. In medieval, Knights’ profession is fighting against the enemies, and fighting against the enemies is viewed as the most noble and scared job. The tournament is knights’ second job, which is showed in the first and third battle. It goes without saying that people hate war nowadays, but why knights love war and tournament so much in middle ages? Medieval aristocratic society is a honor society. In medieval aristocratic society, nothing is more important than the respect for honor, that’s to say, everyone pursue honor. Honor view is the core of chivalry, and war is the source of knight's honor. I think this is the reason that knights used violence to solve problem, they can show off and gain respect as well. The film fully shows the significance of war and honor for knights, which I really appreciate. Before the duel between Ivanhoe and Guilbert, Guilbert says that if he gave up fighting with Ivanhoe, he will lose the honor and respect. At first, I didn’t understand why he says that. In my culture, it is a good thing that you give up fighting against somebody who can save the people you love. But now I seem to understand what he says. If he give up, he would lose the title of knight, his dignity, honor and the respect from others, which mean everything for a knight.
(Knights and Courtly love)In the first battle, Ivanhoe wins other knights, the king says: “According to the knight system, you has the right to chose the most beautiful and popular queen”. I was puzzled at the beginning, why he give a crown to a noblewomen? As we all know, in ancient China, the beautiful women are often depicted sirens who confuse emperor and bring the fall of the country. China and Europe has really different attitude to women in the past. In the view of Chinese, women make monarchy fatuous and dissipated. But from the opinion of many Europeans, women make men more crazy and brave. In order to win the love of noblewomen, knights can sacrifice everything, which is seen as Platonic love. Noblewomen is the symbol of truth , virtue and beauty. Love become the power source which help knights change themselves and achieve the moral quality of sublimation.(实现道德品质的升华). The love among Ivanhoe, Rebecca and Lady Rowena also makes the film more brilliant. Courtly love is pure and sacred. It has great and far-reaching influence on Western Civilization. It sublimate and remodel chivalry, makes knights more brave and polite.(典雅爱情重新塑造了和升华了骑士精神，使骑士更加英勇，同时融入了风雅，英勇中浸染了文雅和彬彬有礼，并蓄了刚柔文武).What’ s more, courtly love also improves the status of women and the thoughts of respecting women also spread in middle ages, which have profound impacts on the society. For example, when the Titanic hit an iceberg and sank more than 81 years ago, only about a third of the great ship’s passengers survived. Most were women and children. Several male passengers refused to enter lifeboats because they weren’t sure all the women were safely aboard. But it is a pity that the chivalry of respecting women and protecting the weak is gradually fading away in the movement for women's rights.(尊重妇女、保护弱者的骑士精神在女权运动中逐渐消逝)
What I said above is the chivalry which has been idealized and prettified. When you see the movie, you pay more attention on Ivanhoe than Guilbert and other knights, so you may ignore the shortcomings that shown by other other knights. Ivanhoe is brave and justice, but not every knight is brave and justice. We need to more rational and have a good understanding of chivalry. We know that the Roman Empire was overrun by Nordic barbarians. And it was Germanic people that bring Roman Empire to life. How can a barbaric race make a dying civilization come into life? (野蛮的日耳曼民族是如何使一个垂死的文明重新焕发生命力？) Gentile institution(氏族制度) has a great impact on Germanic peoples, Germanic peoples like war and it make them brave, generous and respect honor. With the establishment of western feudal system, the German bodyguard system has been developed into chivalry. And the spirit of brave, generous and honor are the basic contents of chivalry. Then, with the limit of religion, the nourishment of love, the influence of literature a rough warrior becomes a model of social justice, but fighting against enemies is always their regular occupation. Now, we have a general idea of the origin of chivalry. War is a essential part of knights ‘life . That is why the movie of Ivanhoe show three battles and to us. The courtly love is shown in the movie, but it is not a key point, its function is to drive the plot.
To appreciate the films of Richard Thorpe is to grasp the unromantic, pragmatic work ethic of the Golden Age of Hollywood. He is not the type of director to be celebrated on the covers of film magazines or debated in the hallowed halls of academia. He is, to put it simply, a craftsman - a master builder in a town of star architects. While others seek to imprint their personal vision, Thorpe is the grand architect of the studio spectacle, a man who can be handed a project of immense scale and delivers it with such polished professionalism that the artistry of his work becomes almost invisible, absorbed into the sheer lavishness of the production itself. His filmography, stretching from B-movie quickies to Technicolor extravaganzas, is a testament to an ethos that celebrates not the creator, but the creation. And perhaps nowhere is this ethos more brilliantly and entertainingly displayed than in his trio of early 1950s MGM epics: THE GREAT CARUSO, IVANHOE, and THE PRISONER OF ZENDA.
On the surface, it seems a random assortment of films. A musical biopic, a medieval adventure, and a swashbuckling romance. Yet, they are bound by a common thread: each is a genre piece executed with a singular commitment to fulfill its promise on the most spectacular terms possible. In a Thorpe film, the audience gets exactly what it comes for, and then some.
Consider THE GREAT CARUSO. This is not a movie about the inner torment of a brilliant artist, the shadows behind his fame, or the psychological complexity of his vocation. This is a film that understands its core appeal lies in one thing and one thing only: the voice. It is a monument to Mario Lanza’s magnificent pipes, and Thorpe’s direction takes a sleekness in getting out of the way. He doesn't try to infuse the narrative with much personal insight. Instead, he treats the film as a cinematic concert, a meticulously staged event designed to showcase Lanza’s vocal power in glorious Technicolor.
The plot is a familiar, almost saccharine, rags-to-riches tale, riddled with artistic license towards accuracy: a young, unrefined singer from Naples rises to global fame, facing snobbish critics and disapproving future in-laws along the way. The dramatic arcs are as simple and direct as a musical scale. But who cares about dramatic complexity when the screen is swelling with a full-throated aria from a packed opera house? Thorpe’s direction serves as a most dutiful hand on the tiller, guiding the audience from one performance to the next. The camera lovingly captures the opulent sets, the flowing gowns, and the sheer spectacle of the Met, all in service of creating a scenographic space for Lanza’s arias. Therefore, the end result is a spectacle of sound and color, a grand cinematic echo of the opera house itself. Thorpe manifests an elegant and steadfast refusal to let anything distract from the main event (although the ending seems rushed and the film is an unapologetic hagiography).
The performances in THE GREAT CARUSO are attuned to the film’s purpose. Lanza, the true star, embodies the role of Enrico Caruso with a buoyant charm that makes his vocal brilliance seem almost effortless. He projects a down-to-earth persona that wins over both opera aficionados and the movie theater audience. His charisma, however, is a mere prelude to the real deal: his singing. Lanza's voice is the film's undeniable protagonist. The soundtrack is not just a backdrop; it is the film's raison d'être. It is a stunning collection of some of the most famous arias in opera, including excerpts from Rigoletto, Aida, and Tosca, all presented with pristine clarity. Each piece is a showstopper, and the film is structured around them. While Ann Blyth as his love interest provides a lovely, grounding presence, she and the rest of the cast are there to set the stage for Lanza’s monumental talent.
This same principle of undivided focus on spectacle applies to the medieval landscape of IVANHOE. While some historical epics strive for authenticity or intellectual depth, Thorpe's propensity is for untarnished pageantry and battle thrills. It is a fairy tale for adults, a harlequin tableau of chivalry and valor. Glaringly, IVANHOE is a celebration of the bold and the beautiful, where heroes are noble, wearing shining armor, villains are dastardly, wearing sneers and having a penchant for peroration, and the costumes are a sight to behold.
The central conflict - the battle for the throne between the kidnapped King Richard (Wooland) and his treacherous brother Prince John (Rolfe, a gaunt beanpole, convincingly bristled with antipathy and vileness) - is simplified into a classic good-versus-evil narrative. What follows is a series of assiduously choreographed set pieces: a breathtaking jousting tournament that crackles with tension, a climactic castle siege that is all heroic posturing and disarrayed stunts, and a final duel where the stunt doubles are too obvious to ignore.
That said, the production value of IVANHOE is staggering, even by MGM's high standards. The film's grandeur is built on a foundation of lush, vibrant Technicolor cinematography that makes every banner, crest, and suit of armor pop off the screen. The sets and locations, filmed on a grand scale in the UK, create a convincingly majestic and expansive world, from the tournament grounds to the imposing castle. Rózsa's score is a high-octane, soaring orchestral piece that seamlessly tallies with the film's epic scope, providing a sense of gravitas and heroism that elevates every scene.
Appertaining to performances, Robert Taylor's Ivanhoe is a swarthy and upright hero, he looks unequivocally on the wrong side of a youthful King Richard's devout. Sanders is in his default mode as the sneering villain Sir Brian de Bois-Guilbert, radiating a sophisticated malice that makes him the perfect foil. Elizabeth Taylor (a 19-year-old knockabout born to dazzle the Technicolor screen) and Fontaine (who can only compete in graciousness), as the objects of Ivanhoe's affections, both bring a commendable presence to their roles, adding a mutually sororal respect to the usual romantic narrative, they are rivals sans a morsel of malice.
Finally, we arrive at THE PRISONER OF ZENDA, arguably the purest expression of Thorpe’s philosophy. Rehashing the same script of John Cromwell's 1937 black-and-white version, Thorpe does not seek to add a new layer of meaning or subvert the story (it is a nearly shot-for-shot remake), he simply sets out to make it the most gorgeous-looking adventure. The film becomes the pursuit of perfection within a known structure and its story is a familiar one of mistaken identity and daring impersonation, but in Thorpe’s hands, it becomes a showcase for multicolored refinement.
The film's visual splendor is a key element of its success. Chromatic vibrancy is a feast for the eyes, presenting the fictional kingdom of Ruritania in all its regal glory. The period costumes are magnificent and the plot is lead by a goofy joyfulness, all contributing to a feeling of grand escapism.
But while the production design is impeccable, it is the electric performances that define this film. Granger, in the dual role of the commoner and the king, possesses a youthful athleticism and a charming swagger that is distinct from his predecessor. His performance is a confident display of a leading man in his prime. And most eminently, Mason as the villainous Rupert of Hentzau is an electrifying counterpoint, a suave and menacing embodiment of undiluted evil. Kerr, reuniting with Granger after the victory of KING SOLOMON’S MINES (1950), although in a supporting role, doesn't hold back from exuding a majestic resplendence whenever her Princess Flavia graces the screen in astounding regalia.
The final sword fight between the two men is a beautifully choreographed pas de deux (although Mason's double becomes a prominent diversion), a ballet of steel and cunning that is both thrilling and hazardous. The soundtrack, a re-use of Alfred Newman's Oscar-nominated score from the 1937 film, is a bold and effective choice. It provides a familiar, sweeping musical backdrop that enhances the film's romantic and suspenseful elements without distracting from the central conflict. In this film, Thorpe’s direction is at its most efficient and effectual, triumphantly transforms a familiar tale into a fanciful escapade.
By and by, Thorpe’s legacy is a less recognized one. He is equipped with neither staggering showmanship nor a rebellious disposition. Yet, he fathoms that the art of cinema is not just about personal expression but about giving the ticket buyers a sensation they cannot get anywhere else: the feeling of being transported to a world more grand, more colorful, and more exciting than their own. And most crucially, Thorpe is well up on how to build them from the ground up.
referential entries: Thorpe's NIGHT MUST FALL (1937, 7.1/10); Compton Bennett and Andrew Marton's KING SOLOMON’S MINES (1950, 6.8/10); Michael Curtiz, William Keighley's THE ADVENTURES OF ROBIN HOOD (1938, 7.2/10).
Title: The Great Caruso
Year: 1951
Genre: Musical, Biography, Romance
Country: USA
Language: English, Italian
Director: Richard Thorpe
Screenwriters: Sonia Levien, William Ludwig
Composer: Johnny Green
Cinematographer: Joseph Ruttenberg
Editor: Gene Ruggiero
Cast:
Mario Lanza
Ann Blyth
Dorothy Kirsten
Jarmila Novotna
Richard Hageman
Carl Benton Raid
Eduardo Franz
Ludwig Donath
Alan Napier
Pál Jávor
Carl Milletaire
Shepard Menken
Vincent Renno
Nester Paiva
Ian Wolfe
Angela Clarke
Mario Siletti
Yvette Duguay
Rating: 7.7/10
Title: Ivanhoe
Year: 1952
Genre: Action, Adventure, Romance
Country: USA, UK
Language: English
Director: Richard Thorpe
Screenwriters: Noel Langley, Aeneas MacKenzie, Marguerite Roberts
好莱坞拍摄于1952年的【劫后英雄传】，属于好莱坞黄金时代史诗片热潮中的一员，内容改编自司科特爵士的中世纪传奇小说“艾凡赫”，小说古早以前看过，至于内容全忘了。nn大概是——nn故事发生在十二世纪末英王狮心理查一世发起十字军东征，因参加远征的基督教国家内部分崩离析，不久就被迫班师。在归途中遇风暴，被奥地利公爵所俘，囚禁在多瑙河上城堡中一年余，效忠约翰王子的诺曼人与效忠狮心王的萨克逊人互相对抗。萨克逊英雄艾凡赫卖力地筹集赎金，希望将被俘的国王从诺曼人手上赎回，因而跟恶棍吉尔波特发生了连场恶斗。期间，艾凡赫也跟路文娜公主及犹太姑娘丽贝嘉发生了三角恋爱的冲突，构成了一个热闹动人的故事。nn nn不过我看这个老电影完全是冲着那一堆大牌明星去的：nnnnnnJoan Fontaine（片中饰演Lady Rowena）nn一个极富传奇色彩的好莱坞女星，出名的的那部【蝴蝶梦】，当时她21岁初出茅庐，饰演了一个自卑内向胆小的女主人公，因此获得了奥斯卡最佳女主角的奖项，也是希区克柯片子里唯一获这个奖项的女演员，她演得太好，以至于我猜她在生活中是否也是这样的战战兢兢胆小害羞，不过完全不是这样nn——生活中的Joan Fontaine脾气倔强，与任何人都合不来，自传里她直白地告诉读者她恨Laurence Olivier、恨Vivien Leigh（因为这夫妻两在试镜时拼命想挤掉这个新人，可惜老希早就定下女主角了，反而加以利用煽动气氛……我注意到老希的女主角绝对都是金发碧眼的，所以黑发美人没戏）恨Judith Anderson（她拍戏时经常迟到）、恨XXX、恨XX……很多不记得了，与姐姐Olivia de Havilland的关系恶劣，小时候就互相掐架恶语相向，打斗中还踩断了肋骨（谁踩谁不记得了），就连奥斯卡领奖时也互不理睬互翻白眼，当然光是脾气不好不能吸引我，重要的是她多才多艺、兴趣广泛、意志坚强，从骑马、驾驶飞机、烹饪、园艺无所不能～nn晚年时姐姐Olivia de Havilland生活陷入窘境，Joan毅然伸出援助之手，老姐妹重修旧好，现在这俩姐妹依旧健在，健康长寿啊！！从黄金时代过来的人能与我等共存于一个世界真是件美妙的事情～nn nn nnElizabeth Taylor（片中饰演犹太姑娘Rebecca）nn与Joan Fontaine 第二次合作（好像也是最后一次），第一次是1944年版的“简爱”，没啥对手戏，Taylor演的是早殇的小海伦，1952年拍Ivanhoe时Taylor刚19岁，非常年轻非常漂亮！！片中就是三角关系，估计实际情况中Fontaine也不会喜欢她…nn那时Taylor正感情低潮，米高梅公司为了拆散Taylor的一场不伦恋情强迫她到英国参加拍摄，有趣的是到英国后这个感情丰富的小姑娘立刻陷入另一场不伦之恋，并且修成正果，在1952年与英国演员Michael Wilding 结婚，这是她的第2次婚姻。nnTaylor经历了的8次婚姻，一般人听到估计都觉得不可思议～其中第一次婚姻才8个月就和那个小气冷漠的希尔顿财团继承人分手了，与Michael Todd的火热甜蜜生活由于他的意外死亡而中止， 另两次是和一生的至爱“永远的马克安东尼”Richard Burton。nn不过这在当时的好莱坞不算太特别，演员们结婚在4次左右很普遍，比如参与此片拍摄的其他演员Fontaine、George Sanders 、Robert Douglas等。nn回想了看过Taylor的一系列电影（郎心似铁、巨人、热铁皮屋顶上的猫、魂断巴黎、埃及艳后等等），突然发现她在电影里从来不笑，90％的镜头都是略带忧郁的面无表情…剩下10％的笑也是淡淡的微笑、冷笑、嘲笑＝。。＝nn nnnn nnRobert Taylor（片中饰演Sir Wilfred of Ivanhoe）nn对于这位英俊男演员的八卦没有深入挖掘，30年代是典型的奶油小生，到了40年代留起了胡子更有种老派绅士风度～nn nnnn nnGeorge Sanders （片中饰演Sir Brian de Bois-Guilbert）nn这位出生于俄国的演员引起我注意的是在【蝴蝶梦】里饰演Jack Favell——Rebecca的表哥，浮夸的花花公子（和Joan Fontaine也是第二次合作），大概长得不太象好人所以饰演的角色都是类似的，比如之后在【曼哈顿的故事Tales of Manhattan】（关于一件被诅咒的燕尾服的故事）里面他演的一个小角色。nn在【Ivanhoe】里就是最大的反派“圣殿骑士吉尔波特”，最有劲的是和Elizabeth Taylor的对手戏！老谋深算的诺曼贵族爱上了纯洁虔诚的犹太姑娘～多么让人心花怒放啊～～～nnnnnnimdb的评论上关于Sanders的最后结局有些让我意外：nn“He continued to play mostly villains and charming heels until his suicide in 1972.”nn nn nn nn此片是米高梅公司的野心之作，“他们想通过英国典雅、大器的异域空间，富丽堂皇的仿古布景，中世纪的名贵服装，空前庞大的明星阵容，把司科特爵士的经典著作再现为一部好莱坞彩色片。”可惜，结果并不尽如人意，故事情节平淡无奇，不如小说精彩，从场景、服装、建筑的华美精致程度来看中世纪题材显然比不上同时期的古罗马题材，知名度则不如拖跨福克斯公司的【埃及艳后】，只能说是一部不温不火的平平之作。nn nn nn以上多数剧照来自：http://www.jamd.com/entertainment/nn
第一次十字军东征失利，查理王被掳，查理王的弟弟约翰亲王伺机篡位。诺曼人亲约翰，盎格鲁人亲查理，危机四伏。艾凡赫作为盎格鲁人的杰出代表，在策马比武大会上力挫五位诺曼骑士。精彩的比赛不但叫人了解了骑士装备（盔甲、侍从与披着战袍的战马），还很巧妙地映射了骑士之爱，算是影片的一大看点。另一卖点是对犹太人的塑造：埃塞克与他女儿丽贝卡。我们可以看到信仰基督教的诺曼人、盎格鲁人与信仰犹太教的犹太人之间的仇恨与隔膜，更加突出英雄艾凡赫超越宗教界限的人道主义精神。特别喜欢伊丽莎白泰勒饰演的犹太姑娘丽贝卡。泰勒将犹太姑娘的羞涩、神秘、坚韧表现得淋漓尽致，她的眼神大有看头。相比而言，琼芳登的表现比较一般。最后值得一提的是攻克城堡之战与艾凡赫为解救丽贝卡的策马比武，情节跌宕起伏，情感真挚感人。不管脉脉含情的丽贝卡如何令观众陶醉，骑士艾凡赫始终忠于他的爱，罗伊娜公主。对于丽贝卡，艾凡赫只有感激和作为骑士的安良除暴。
(Knights and war)I really enjoy this movie, especially the scenes of battle. As a Chinese, their fighting-pattern really impressed me. Our ancients used swords or spears to fight each other, but they didn’t. And I was really surprised at the way of war in medieval Europe. There are three battles in the movie.
The first one is that Ivanhoe fights with other five knight. They aim or thrust a lance in a joust. You may think it is very easy, but as a matter a fact, if you want to make your opponent fall down, you need to practice much and have a clear idea of other's shortcomings. If you have courage, but without money , you cannot take part in it. The second battle of the Tuo Kuier Stone Castle is verymagnificent. This is a struggle between evil and justice. Almost everyone has appeared in the battle, and the battle completely unmask the evil of Norman. The third battle is the duel between Ivanhoe and Guilbert.
This movie is only 106 minutes long but contain three battles, do you know why? From my perspective, it is a movie about knight, and war has close relationship with knight. In medieval, Knights’ profession is fighting against the enemies, and fighting against the enemies is viewed as the most noble and scared job. The tournament is knights’ second job, which is showed in the first and third battle.
It goes without saying that people hate war nowadays, but why knights love war and tournament so much in middle ages? Medieval aristocratic society is a honor society. In medieval aristocratic society, nothing is more important than the respect for honor, that’s to say, everyone pursue honor. Honor view is the core of chivalry, and war is the source of knight's honor. I think this is the reason that knights used violence to solve problem, they can show off and gain respect as well.
The film fully shows the significance of war and honor for knights, which I really appreciate. Before the duel between Ivanhoe and Guilbert, Guilbert says that if he gave up fighting with Ivanhoe, he will lose the honor and respect. At first, I didn’t understand why he says that. In my culture, it is a good thing that you give up fighting against somebody who can save the people you love. But now I seem to understand what he says. If he give up, he would lose the title of knight, his dignity, honor and the respect from others, which mean everything for a knight.
(Knights and Courtly love)In the first battle, Ivanhoe wins other knights, the king says: “According to the knight system, you has the right to chose the most beautiful and popular queen”. I was puzzled at the beginning, why he give a crown to a noblewomen? As we all know, in ancient China, the beautiful women are often depicted sirens who confuse emperor and bring the fall of the country. China and Europe has really different attitude to women in the past. In the view of Chinese, women make monarchy fatuous and dissipated. But from the opinion of many Europeans, women make men more crazy and brave. In order to win the love of noblewomen, knights can sacrifice everything, which is seen as Platonic love. Noblewomen is the symbol of truth , virtue and beauty. Love become the power source which help knights change themselves and achieve the moral quality of sublimation.(实现道德品质的升华). The love among Ivanhoe, Rebecca and Lady Rowena also makes the film more brilliant. Courtly love is pure and sacred. It has great and far-reaching influence on Western Civilization. It sublimate and remodel chivalry, makes knights more brave and polite.(典雅爱情重新塑造了和升华了骑士精神，使骑士更加英勇，同时融入了风雅，英勇中浸染了文雅和彬彬有礼，并蓄了刚柔文武).What’ s more, courtly love also improves the status of women and the thoughts of respecting women also spread in middle ages, which have profound impacts on the society. For example, when the Titanic hit an iceberg and sank more than 81 years ago, only about a third of the great ship’s passengers survived. Most were women and children. Several male passengers refused to enter lifeboats because they weren’t sure all the women were safely aboard. But it is a pity that the chivalry of respecting women and protecting the weak is gradually fading away in the movement for women's rights.(尊重妇女、保护弱者的骑士精神在女权运动中逐渐消逝)
What I said above is the chivalry which has been idealized and prettified. When you see the movie, you pay more attention on Ivanhoe than Guilbert and other knights, so you may ignore the shortcomings that shown by other other knights. Ivanhoe is brave and justice, but not every knight is brave and justice. We need to more rational and have a good understanding of chivalry.
We know that the Roman Empire was overrun by Nordic barbarians. And it was Germanic people that bring Roman Empire to life. How can a barbaric race make a dying civilization come into life? (野蛮的日耳曼民族是如何使一个垂死的文明重新焕发生命力？) Gentile institution(氏族制度) has a great impact on Germanic peoples, Germanic peoples like war and it make them brave, generous and respect honor. With the establishment of western feudal system, the German bodyguard system has been developed into chivalry. And the spirit of brave, generous and honor are the basic contents of chivalry. Then, with the limit of religion, the nourishment of love, the influence of literature a rough warrior becomes a model of social justice, but fighting against enemies is always their regular occupation. Now, we have a general idea of the origin of chivalry. War is a essential part of knights ‘life . That is why the movie of Ivanhoe show three battles and to us. The courtly love is shown in the movie, but it is not a key point, its function is to drive the plot.
2023.10.24
英国中世纪骑士电影代表作之一，讲述的是十二世纪末在结束了以夺回圣地为目标的第三次十字军东征后，代表英格兰出征的英王狮心理查一世因参加远征的基督教国家内部分崩离析，不久就被迫班师，归途中查理王被奥地利公爵掳去，查理王的弟弟约翰亲王见死不救，伺机篡位。诺曼人亲约翰，盎格鲁人亲查理，英格兰陷入动荡之中，危机四伏。影片详细描述了效忠约翰王子的诺曼人与效忠狮心王查理的萨克逊人互相对抗，厮杀的过程，萨克逊骑士艾凡赫积极筹集赎金，希望将被俘的查理从奥地利人手上赎回，因而跟诺曼骑士吉伯尔发生了一连串的恶斗。本片改编自司科特爵士的中世纪传奇畅销书《艾凡赫》。
效忠于英格兰狮心王查理的萨克逊骑士威尔弗雷德·艾凡赫武功盖世，但却是一个字不识的文盲，他得到了被掳的查理国王传递给他的信却看不懂，又不好意思说，谎称看不懂奥地利文，让牧师读给他听，牧师睁眼一看这不是英文吗？艾凡赫也不遮掩了，拔出匕首抵在牧师脖子上“那就读吧”。从这封信里艾凡赫才知道查理国王没有死，他被奥地利王利奥波德囚禁，而他弟弟约翰亲王拒付十五万银马克的赎金，并且勾结了诺曼人企图篡夺他的王位。
中世纪的欧洲骑士比武，简单、粗暴，一招制敌，没有什么花式和噱头，但是骑士风度让人钦佩。阿什比的枪术比赛，诺曼的五位骑士看起来个个气宇轩昂，出手不凡，第一轮对决，五位萨克逊骑士齐刷刷的被五位诺曼骑士刺中落下马了。就在约翰王子得意忘形的时候，突然军号齐鸣，一名挑战者出现了，不远处杀出一匹黑马，马上的一身黑色骑士装备的正是艾凡赫，他一个人向五位诺曼骑士挑战，引起全场观众振臂欢呼。五位诺曼骑士先后出马，第一位出战的是麦尔维泽，结果不堪一击。
第一战完胜的艾凡赫绕场一周，众目睽睽之下刻意向犹太人艾沙克和他女儿丽贝卡致敬，艾凡赫的父亲塞德里克因为儿子参加圣战惹火了他，把艾凡赫逐出家门，并和他断绝关系。现在他认出黑衣骑士是他儿子，并以他为荣，但是他发现他的儿子向犹太人致敬感到迷惑，旁边的萨克逊公主罗伊娜纠正道他是在向那个犹太美女致敬，这恐怕和信仰没有关系，女人在这方面的直觉总是出奇的准确。第二个出战的诺曼骑士是拉瑞夫，和第三个出战的波尔福都铩羽而归，第四个出战的布莱希同样败下阵来，不过他也刺中了艾凡赫的肩膀。艾凡赫拒绝了约翰王子的收买，决意忍痛坚持再战。最后出马的是吉伯尔，艾凡赫因为体力不支，只把他的枪打落在地，人却没有跌落，而艾凡赫却因坚持不住而跌落马下。
信仰基督教的诺曼人、盎格鲁人与信仰犹太教的犹太人之间有很深的仇恨与隔膜，正像艾凡赫所说“犹太民族没有家更没有国”，那个时候犹太人只求英格兰国王保证每个人都会得到公平的对待足已。这点倒是和基督教的观点一致。但是艾凡赫却超越这些宗教界限，一视同仁。正是有如此坦荡的胸怀，让丽贝尔见到他后很快就深深的爱上了他。不怕不识货，就怕货比货，人也是一样的，骑士是这样，美女也是这样的，琼·芳登饰演的萨克逊公主罗伊娜是个美人，颇有公主范，面对诺曼骑士的咄咄逼人毫不畏惧，针锋相对。但是伊丽莎白·泰勒饰演的犹太姑娘丽贝卡一出场就让人惊艳，泰勒将犹太姑娘的羞涩、神秘、坚韧表现得淋漓尽致。
艾凡赫负伤后两个女人第一次在帐篷里见面的飙戏泰勒更胜一筹，明显感觉泰勒饰演的丽贝尔气场更强大，个人情感深藏不露，言谈举止义正严辞，更加得体，而芳登饰演的罗伊娜则表现的唯唯诺诺，优柔寡断，一副妇道人家的作为，一句“你爱他？”更显示她的出格局小了许多。
在设菲尔德艾沙克的家，丽贝卡真情流露，抚摸昏睡中的艾凡赫，情不自禁的亲吻他的脸颊，更是喃喃自语的说出“我爱你”，爱慕之情溢于言表，父亲艾沙克对于女儿的心思心知肚明，但是他却给女儿泼冷水，宗教信仰不同的强大压力下，他们的儿女私情很难有结果。
约翰亲王派吉伯尔领兵把住设菲尔德各个路口，搜捕艾凡赫，他们先截获了塞德里克和罗伊娜公主一行，把他们押解到托凯尔斯图城堡，其中包括犹太人艾沙克和丽贝卡父女俩人。艾凡赫主动来城堡受降，以换取释放他父亲和罗伊娜公主一行人。此时萨克逊人首领洛克斯雷已经带领弓箭手包围了城堡，就等着塞德里克一脱身就开始里应外合攻击城堡，可是吉伯尔背信弃义并没有放了塞德里克，让艾凡赫的计划落空，还自投罗网。诺曼人开始瓜分战利品，布莱希选择了罗伊娜公主，而吉伯尔则垂涎丽贝卡，他卑鄙的用艾凡赫来要挟丽贝尔。
洛克斯雷带领萨克逊人发起进攻，可是吉伯尔把艾凡赫绑在了塔尖上，威胁要吊死他，让洛克斯雷投鼠忌器，关键时刻艾凡赫一把抱住波尔福要和他同归于尽，却不想是虚晃一枪，艾凡赫趁机逃回城堡。对于躲在城堡里的诺曼人来说，洛克斯雷的弓箭威利似乎有限，当诺曼人试图冲出城堡时，弓箭的威利开始显现出来，诺曼人还没有过吊桥就死伤惨重，很快缩了回去。
真正的搏杀还是艾凡赫父子俩手中的剑和大火，诺曼人被城堡里燃起的大火熏的纷纷跑到城墙上。攻城战进入到白热化阶段，萨克逊人仗着人多势众，多路同时发起进攻，眼看着城堡被攻破，卑鄙的吉伯尔挟持罗伊娜公主和丽贝尔逃跑。艾凡赫打败了布莱希救出罗伊娜，却让吉伯尔挟持丽贝卡骑马逃跑了。
逃回王室城堡的吉伯尔把丽贝卡交给了约翰亲王，约翰亲王向犹太人提出了十万银马克的赎金，正好是犹太人筹集到的赎回查理国王的赎金数，艾沙克痛苦的做出了救查理国王的决定。艾凡赫发誓救回丽尔卡，又引起了罗伊娜公主的妒忌和担忧，不过这回罗伊娜孰轻孰重拎得清了，人命关天，男女私情在其次。
在约翰亲王主持的法庭庭审中，丽尔卡的医术被污蔑成巫术，而她也被被污秽成有邪恶摩法的女巫，尽管骑士布莱恩·德·吉伯尔尽力为她争辩，但是约翰亲王根本不予理睬，话锋一转，提到他哥哥已经是被异教徒施了邪术的行尸走肉，他将会为英格兰大地带来灾难，因此在台下一片嘘声中约翰亲王强行宣布烧死丽尔卡和她的犹太族人。想想今天的美西方国家还在用这套盎格鲁撒克逊人的鬼把戏造谣惑众，蛊惑人心，愚弄世界，这么多年没有一点长进，真的是是可忍孰不可忍，可气又可笑。
吉伯尔让丽尔卡忏悔并请求宽恕，从此断绝犹太信仰，被丽尔卡严辞拒绝，她宁可站着被烧死，也不愿意跪下认罪求生，民族气节可歌可泣。危急关头艾凡赫站出来，以教会法规赋予的权利，向法庭判决挑战，遵照骑士精神的旨意，用决斗来裁决丽尔卡的清白。中世纪的欧洲宗教力量远远大于世俗的法律，决斗法则可以强制于法庭的判决之上，让上帝守护正义，而且上帝裁决的请求不能被拒绝。眼看着自己的卑鄙伎俩即将败露，约翰亲王心生一计，他指定吉伯尔代表法庭接受艾凡赫的挑战。
决斗在阿什比竞技场进行，决斗前吉伯尔向丽尔卡提出跟自己走，他将退出决斗和骑士称号，失去名声和荣誉，他们远走高飞。丽尔卡略一沉思后婉拒了吉贝尔。吉贝尔选择了流星锤做为决斗武器，艾凡赫则选择了斧头。以现代人的视角来看这场决斗毫无技巧可言，就是抡起流星锤和斧头向对方死命地砸，比的是力量和耐力，持短把斧头的艾凡赫有力使不上，结果先被吉伯尔打下马，接着就只有挨打被动防御的份。一个闪失，艾凡赫失去了盾牌，就在吉伯尔抡起流星锤准备“一锤定音”的时候，艾凡赫一个机智的躲闪，流星锤的铁链缠在了斧头把上，艾凡赫就势一下子把吉伯尔拉下了马。在地上两个人短兵相接，流星锤失去了优势，露出来短板，精疲力尽的吉伯尔被艾凡赫一斧头砍中，倒在了血泊中。
这个时候查理国王带领大队人马赶来，看台上的约翰亲王只好跪下俯首称臣。临死前吉伯尔吐露真言“丽贝卡，都是命运的错，它让我如此爱你，而你爱的却是艾凡赫，但你永远都是我的，只属于我一个人，愿上帝保佑你。”骑士艾凡赫始终如一的忠于他的查理国王，忠于他对罗伊娜公主的爱，对于丽贝卡，艾凡赫只有感激和遗憾。
To appreciate the films of Richard Thorpe is to grasp the unromantic, pragmatic work ethic of the Golden Age of Hollywood. He is not the type of director to be celebrated on the covers of film magazines or debated in the hallowed halls of academia. He is, to put it simply, a craftsman - a master builder in a town of star architects. While others seek to imprint their personal vision, Thorpe is the grand architect of the studio spectacle, a man who can be handed a project of immense scale and delivers it with such polished professionalism that the artistry of his work becomes almost invisible, absorbed into the sheer lavishness of the production itself. His filmography, stretching from B-movie quickies to Technicolor extravaganzas, is a testament to an ethos that celebrates not the creator, but the creation. And perhaps nowhere is this ethos more brilliantly and entertainingly displayed than in his trio of early 1950s MGM epics: THE GREAT CARUSO, IVANHOE, and THE PRISONER OF ZENDA.
On the surface, it seems a random assortment of films. A musical biopic, a medieval adventure, and a swashbuckling romance. Yet, they are bound by a common thread: each is a genre piece executed with a singular commitment to fulfill its promise on the most spectacular terms possible. In a Thorpe film, the audience gets exactly what it comes for, and then some.
Consider THE GREAT CARUSO. This is not a movie about the inner torment of a brilliant artist, the shadows behind his fame, or the psychological complexity of his vocation. This is a film that understands its core appeal lies in one thing and one thing only: the voice. It is a monument to Mario Lanza’s magnificent pipes, and Thorpe’s direction takes a sleekness in getting out of the way. He doesn't try to infuse the narrative with much personal insight. Instead, he treats the film as a cinematic concert, a meticulously staged event designed to showcase Lanza’s vocal power in glorious Technicolor.
The plot is a familiar, almost saccharine, rags-to-riches tale, riddled with artistic license towards accuracy: a young, unrefined singer from Naples rises to global fame, facing snobbish critics and disapproving future in-laws along the way. The dramatic arcs are as simple and direct as a musical scale. But who cares about dramatic complexity when the screen is swelling with a full-throated aria from a packed opera house? Thorpe’s direction serves as a most dutiful hand on the tiller, guiding the audience from one performance to the next. The camera lovingly captures the opulent sets, the flowing gowns, and the sheer spectacle of the Met, all in service of creating a scenographic space for Lanza’s arias. Therefore, the end result is a spectacle of sound and color, a grand cinematic echo of the opera house itself. Thorpe manifests an elegant and steadfast refusal to let anything distract from the main event (although the ending seems rushed and the film is an unapologetic hagiography).
The performances in THE GREAT CARUSO are attuned to the film’s purpose. Lanza, the true star, embodies the role of Enrico Caruso with a buoyant charm that makes his vocal brilliance seem almost effortless. He projects a down-to-earth persona that wins over both opera aficionados and the movie theater audience. His charisma, however, is a mere prelude to the real deal: his singing. Lanza's voice is the film's undeniable protagonist. The soundtrack is not just a backdrop; it is the film's raison d'être. It is a stunning collection of some of the most famous arias in opera, including excerpts from Rigoletto, Aida, and Tosca, all presented with pristine clarity. Each piece is a showstopper, and the film is structured around them. While Ann Blyth as his love interest provides a lovely, grounding presence, she and the rest of the cast are there to set the stage for Lanza’s monumental talent.
This same principle of undivided focus on spectacle applies to the medieval landscape of IVANHOE. While some historical epics strive for authenticity or intellectual depth, Thorpe's propensity is for untarnished pageantry and battle thrills. It is a fairy tale for adults, a harlequin tableau of chivalry and valor. Glaringly, IVANHOE is a celebration of the bold and the beautiful, where heroes are noble, wearing shining armor, villains are dastardly, wearing sneers and having a penchant for peroration, and the costumes are a sight to behold.
The central conflict - the battle for the throne between the kidnapped King Richard (Wooland) and his treacherous brother Prince John (Rolfe, a gaunt beanpole, convincingly bristled with antipathy and vileness) - is simplified into a classic good-versus-evil narrative. What follows is a series of assiduously choreographed set pieces: a breathtaking jousting tournament that crackles with tension, a climactic castle siege that is all heroic posturing and disarrayed stunts, and a final duel where the stunt doubles are too obvious to ignore.
That said, the production value of IVANHOE is staggering, even by MGM's high standards. The film's grandeur is built on a foundation of lush, vibrant Technicolor cinematography that makes every banner, crest, and suit of armor pop off the screen. The sets and locations, filmed on a grand scale in the UK, create a convincingly majestic and expansive world, from the tournament grounds to the imposing castle. Rózsa's score is a high-octane, soaring orchestral piece that seamlessly tallies with the film's epic scope, providing a sense of gravitas and heroism that elevates every scene.
Appertaining to performances, Robert Taylor's Ivanhoe is a swarthy and upright hero, he looks unequivocally on the wrong side of a youthful King Richard's devout. Sanders is in his default mode as the sneering villain Sir Brian de Bois-Guilbert, radiating a sophisticated malice that makes him the perfect foil. Elizabeth Taylor (a 19-year-old knockabout born to dazzle the Technicolor screen) and Fontaine (who can only compete in graciousness), as the objects of Ivanhoe's affections, both bring a commendable presence to their roles, adding a mutually sororal respect to the usual romantic narrative, they are rivals sans a morsel of malice.
Finally, we arrive at THE PRISONER OF ZENDA, arguably the purest expression of Thorpe’s philosophy. Rehashing the same script of John Cromwell's 1937 black-and-white version, Thorpe does not seek to add a new layer of meaning or subvert the story (it is a nearly shot-for-shot remake), he simply sets out to make it the most gorgeous-looking adventure. The film becomes the pursuit of perfection within a known structure and its story is a familiar one of mistaken identity and daring impersonation, but in Thorpe’s hands, it becomes a showcase for multicolored refinement.
The film's visual splendor is a key element of its success. Chromatic vibrancy is a feast for the eyes, presenting the fictional kingdom of Ruritania in all its regal glory. The period costumes are magnificent and the plot is lead by a goofy joyfulness, all contributing to a feeling of grand escapism.
But while the production design is impeccable, it is the electric performances that define this film. Granger, in the dual role of the commoner and the king, possesses a youthful athleticism and a charming swagger that is distinct from his predecessor. His performance is a confident display of a leading man in his prime. And most eminently, Mason as the villainous Rupert of Hentzau is an electrifying counterpoint, a suave and menacing embodiment of undiluted evil. Kerr, reuniting with Granger after the victory of KING SOLOMON’S MINES (1950), although in a supporting role, doesn't hold back from exuding a majestic resplendence whenever her Princess Flavia graces the screen in astounding regalia.
The final sword fight between the two men is a beautifully choreographed pas de deux (although Mason's double becomes a prominent diversion), a ballet of steel and cunning that is both thrilling and hazardous. The soundtrack, a re-use of Alfred Newman's Oscar-nominated score from the 1937 film, is a bold and effective choice. It provides a familiar, sweeping musical backdrop that enhances the film's romantic and suspenseful elements without distracting from the central conflict. In this film, Thorpe’s direction is at its most efficient and effectual, triumphantly transforms a familiar tale into a fanciful escapade.
By and by, Thorpe’s legacy is a less recognized one. He is equipped with neither staggering showmanship nor a rebellious disposition. Yet, he fathoms that the art of cinema is not just about personal expression but about giving the ticket buyers a sensation they cannot get anywhere else: the feeling of being transported to a world more grand, more colorful, and more exciting than their own. And most crucially, Thorpe is well up on how to build them from the ground up.
referential entries: Thorpe's NIGHT MUST FALL (1937, 7.1/10); Compton Bennett and Andrew Marton's KING SOLOMON’S MINES (1950, 6.8/10); Michael Curtiz, William Keighley's THE ADVENTURES OF ROBIN HOOD (1938, 7.2/10).
Title: The Great Caruso
Year: 1951
Genre: Musical, Biography, Romance
Country: USA
Language: English, Italian
Director: Richard Thorpe
Screenwriters: Sonia Levien, William Ludwig
Composer: Johnny Green
Cinematographer: Joseph Ruttenberg
Editor: Gene Ruggiero
Cast:
Mario Lanza
Ann Blyth
Dorothy Kirsten
Jarmila Novotna
Richard Hageman
Carl Benton Raid
Eduardo Franz
Ludwig Donath
Alan Napier
Pál Jávor
Carl Milletaire
Shepard Menken
Vincent Renno
Nester Paiva
Ian Wolfe
Angela Clarke
Mario Siletti
Yvette Duguay
Rating: 7.7/10
Title: Ivanhoe
Year: 1952
Genre: Action, Adventure, Romance
Country: USA, UK
Language: English
Director: Richard Thorpe
Screenwriters: Noel Langley, Aeneas MacKenzie, Marguerite Roberts
based on the novel by Walter Scott
Composer: Miklós Rózsa
Cinematographer: Freddie Young
Editor: Frank Clarke
Cast:
Robert Taylor
Elizabeth Taylor
Joan Fontaine
George Sanders
Guy Rolfe
Emlyn Williams
Robert Douglas
Finlay Currie
Felix Aylmer
Frncis De Wolff
Norman Wooland
Rating: 6.8/10
Title: The Prisoner of Zenda
Year: 1952
Genre: Adventure, Romance
Country: USA
Language: English
Director: Richard Thorpe
Screenwriters: John L. Balderston, Noel Langley
based on the novel by Anthony Hope
Composer: Alfred Newman
Cinematographer: Joseph Ruttenberg
Editor: George Boemler
Cast:
Stewart Granger
Deborah Kerr
James Mason
Louis Calhern
Jane Greer
Robert Douglas
Lewis Stone
Robert Coote
Jay Adler
Kathleen Freeman
Peter Brocco
Francis Pierlot
Rating: 7.5/10
好莱坞拍摄于1952年的【劫后英雄传】，属于好莱坞黄金时代史诗片热潮中的一员，内容改编自司科特爵士的中世纪传奇小说“艾凡赫”，小说古早以前看过，至于内容全忘了。nn大概是——nn故事发生在十二世纪末英王狮心理查一世发起十字军东征，因参加远征的基督教国家内部分崩离析，不久就被迫班师。在归途中遇风暴，被奥地利公爵所俘，囚禁在多瑙河上城堡中一年余，效忠约翰王子的诺曼人与效忠狮心王的萨克逊人互相对抗。萨克逊英雄艾凡赫卖力地筹集赎金，希望将被俘的国王从诺曼人手上赎回，因而跟恶棍吉尔波特发生了连场恶斗。期间，艾凡赫也跟路文娜公主及犹太姑娘丽贝嘉发生了三角恋爱的冲突，构成了一个热闹动人的故事。nn nn不过我看这个老电影完全是冲着那一堆大牌明星去的：nnnnnnJoan Fontaine（片中饰演Lady Rowena）nn一个极富传奇色彩的好莱坞女星，出名的的那部【蝴蝶梦】，当时她21岁初出茅庐，饰演了一个自卑内向胆小的女主人公，因此获得了奥斯卡最佳女主角的奖项，也是希区克柯片子里唯一获这个奖项的女演员，她演得太好，以至于我猜她在生活中是否也是这样的战战兢兢胆小害羞，不过完全不是这样nn——生活中的Joan Fontaine脾气倔强，与任何人都合不来，自传里她直白地告诉读者她恨Laurence Olivier、恨Vivien Leigh（因为这夫妻两在试镜时拼命想挤掉这个新人，可惜老希早就定下女主角了，反而加以利用煽动气氛……我注意到老希的女主角绝对都是金发碧眼的，所以黑发美人没戏）恨Judith Anderson（她拍戏时经常迟到）、恨XXX、恨XX……很多不记得了，与姐姐Olivia de Havilland的关系恶劣，小时候就互相掐架恶语相向，打斗中还踩断了肋骨（谁踩谁不记得了），就连奥斯卡领奖时也互不理睬互翻白眼，当然光是脾气不好不能吸引我，重要的是她多才多艺、兴趣广泛、意志坚强，从骑马、驾驶飞机、烹饪、园艺无所不能～nn晚年时姐姐Olivia de Havilland生活陷入窘境，Joan毅然伸出援助之手，老姐妹重修旧好，现在这俩姐妹依旧健在，健康长寿啊！！从黄金时代过来的人能与我等共存于一个世界真是件美妙的事情～nn nn nnElizabeth Taylor（片中饰演犹太姑娘Rebecca）nn与Joan Fontaine 第二次合作（好像也是最后一次），第一次是1944年版的“简爱”，没啥对手戏，Taylor演的是早殇的小海伦，1952年拍Ivanhoe时Taylor刚19岁，非常年轻非常漂亮！！片中就是三角关系，估计实际情况中Fontaine也不会喜欢她…nn那时Taylor正感情低潮，米高梅公司为了拆散Taylor的一场不伦恋情强迫她到英国参加拍摄，有趣的是到英国后这个感情丰富的小姑娘立刻陷入另一场不伦之恋，并且修成正果，在1952年与英国演员Michael Wilding 结婚，这是她的第2次婚姻。nnTaylor经历了的8次婚姻，一般人听到估计都觉得不可思议～其中第一次婚姻才8个月就和那个小气冷漠的希尔顿财团继承人分手了，与Michael Todd的火热甜蜜生活由于他的意外死亡而中止， 另两次是和一生的至爱“永远的马克安东尼”Richard Burton。nn不过这在当时的好莱坞不算太特别，演员们结婚在4次左右很普遍，比如参与此片拍摄的其他演员Fontaine、George Sanders 、Robert Douglas等。nn回想了看过Taylor的一系列电影（郎心似铁、巨人、热铁皮屋顶上的猫、魂断巴黎、埃及艳后等等），突然发现她在电影里从来不笑，90％的镜头都是略带忧郁的面无表情…剩下10％的笑也是淡淡的微笑、冷笑、嘲笑＝。。＝nn nnnn nnRobert Taylor（片中饰演Sir Wilfred of Ivanhoe）nn对于这位英俊男演员的八卦没有深入挖掘，30年代是典型的奶油小生，到了40年代留起了胡子更有种老派绅士风度～nn nnnn nnGeorge Sanders （片中饰演Sir Brian de Bois-Guilbert）nn这位出生于俄国的演员引起我注意的是在【蝴蝶梦】里饰演Jack Favell——Rebecca的表哥，浮夸的花花公子（和Joan Fontaine也是第二次合作），大概长得不太象好人所以饰演的角色都是类似的，比如之后在【曼哈顿的故事Tales of Manhattan】（关于一件被诅咒的燕尾服的故事）里面他演的一个小角色。nn在【Ivanhoe】里就是最大的反派“圣殿骑士吉尔波特”，最有劲的是和Elizabeth Taylor的对手戏！老谋深算的诺曼贵族爱上了纯洁虔诚的犹太姑娘～多么让人心花怒放啊～～～nnnnnnimdb的评论上关于Sanders的最后结局有些让我意外：nn“He continued to play mostly villains and charming heels until his suicide in 1972.”nn nn nn nn此片是米高梅公司的野心之作，“他们想通过英国典雅、大器的异域空间，富丽堂皇的仿古布景，中世纪的名贵服装，空前庞大的明星阵容，把司科特爵士的经典著作再现为一部好莱坞彩色片。”可惜，结果并不尽如人意，故事情节平淡无奇，不如小说精彩，从场景、服装、建筑的华美精致程度来看中世纪题材显然比不上同时期的古罗马题材，知名度则不如拖跨福克斯公司的【埃及艳后】，只能说是一部不温不火的平平之作。nn nn nn以上多数剧照来自：http://www.jamd.com/entertainment/nn