A few months ago I caught Jackie (2016) which for a prolonged scene/montage we saw Jacqueline Kennedy beginning to grieve, preparing for her late husbands funeral. Playing throughout the scene and on the soundtrack is the stage version of Camelot as performed by Richard Burton. We learn later on that JFK saw himself as Camelot, clearly inspiration for him politically and ideology. The track – Camelot stayed with me for sometime after I came out of the cinema. I had to download it to satisfy the ear-worm that was now taking up residence in my head. It’s been about 6 months since I saw both the film and first listened again to the track. It’s been on a number of times in the car. Listening to the track out of context of the musical which I knew still nothing about. I find myself singing along to the track, picking up odd lines, still not ready to take it to karaoke yet – I will be one day. Listening to the lyrics I began to understand part of what the world that Richard Burton was trying to paint to his Guenevere, as if he was selling her his form of paradise. The climate in the kingdom of Camelot is ideal throughout the year. It’s all in decree by the king himself, making sure its all orderly, very British, allowing us to get one with the more important things – like afternoon tea.
Translating this back to the later film I have already got a better understanding of the film and the short-lived presidency of JFK, who dreamed of a utopian new America, which a large number bought into during the cold war, that’s ignoring his many critics who would rather him be out off office. Still that leads into the realm of conspiracies which I’m not going into/entertain. Anyway moving away from the more recent film connection, I first attempted to watch this musical over a year ago. It didn’t go well if I’m honest, it lasted less than 5 minutes before I gave up. The idea of Richard Harris singing it didn’t sit with me beyond the description in the listings. Then somewhere down the line I saw Paint Your Wagon (1969) where again I found actors who aren’t really suited to this world of the all singing and dancing numbers. But I stayed with it due to my curiosity for the film. Both Lee Marvin and Clint Eastwood would never have claimed to be singers. They were passable with a lot of training to put it politely, they were having a ball making the film. The much can be said for Camelot, a cast that is not really known for their singing abilities.
I think this time around with Camelot (1967), with the later film and the curiosity again I actually told myself to sit through it, plus wanting to see Camelot and sing along to the number above. It’s not really a song that on the surface is too hard to sing (not suggesting training went into the performance) however it has that William Shatner sound of talking the words which he aced with his rendition of Rocket Man. Could this be a speaking musical – if such a term exists? The main casting of this film is rather unusual yet I stuck with it. I found Harris to be a decent King Arthur without chewing up the set. Vanessa Redgrave‘s Guenevere wasn’t such as easy fit, more suited to drama’s I guess this was a finding her style role, seeing if she could, which to a certain extent she does. The musical numbers aren’t the grandest songs in musical history.
I did find myself still drawn to the Jackie connection, how did the Kennedy’s connect to the musical? For me it was the idea of uniting all the counties, each fighting among themselves. Arthur decides to unite the fighting knights to fight for right. Inviting all the knights of the realm/country to join him, lay down their arms and join him around the famous round table. One that I saw a recreation in Winchester a few years ago, hanging up and looking like a precursor to a dart board. Flyers go out across the country and before too long we see men riding in full armour towards the kingdom. Thats not before one of the flyers reaches France into the hands of Lancelot Du Lac (Franco Nero) yes a french knight played by an Italian whose not even trying to do the accent, probably because it would have sounded worse. I for one was constantly thinking about him dragging a coffin through a town in Django (1966). He just was poorly cast for a Frenchmen, probably seen as way to boost his international profile Hollywood. Better working with Sergio Corbucci, the role would have been better served by Omar Sharif in terms of accent – maybe. However Nero did bring an air of mystery, the practically unknown to everyone until Arthur remembers what Merlin Laurence Naismith predicted that he would sit with him around a table (not knowing it was round). This is naughty love interest for Guenevere that soon takes hold as she starts to pit others against him in hopes of driving him away or to prove to herself if he’s worthy of her affections, that were too quickly won by Arthur and his selling of paradise.
It’s this idea of paradise that he wants to spread across the country, the start of modern Britain, lawmakers and government not just by one monarch which is essentially a dictatorship without the advisors. Bringing all these knights likes Senators of the 50 states of America together in Washington for greater good than they’d been doing before obviously inspired. Was JFK essentially dreaming of a better world that was now entering the 2nd decade of the Cold War. He oversaw the Cuban missile crisis, encouraged the space programme among other things. Now the use of Camelot in Jackie makes a lot more sense, enriching the film in terms of the relationship that’s now being grieved for. It’s a reminder of what’s essentially a reminder, a memento of stage production, and inspiration for a man. I come away with all of this after a film that is definitely watchable, lots if a fun and songs you don’t really need to have a great voice to have fun with.
This is one film I have been either putting off or just plain avoiding. The very idea of both Lee Marvin and Clint Eastwood two heavy leading men in Westerns just put me right off for years. It took a “what the hell” moment to take the plunge what this comedy Western Musical, yes three genres for the price of one. I knew from past visual research the film had some connection with the gold-rush, a mass of wooden structures and tent across a river up and down on either side littered with figures. I didn’t really pay much attention to its source, just the content for the gold-mine I was researching in 2012. That’s where I come from when it came to Paint Your Wagon (1969) knowing it would be nothing like The Simpsons parody but quietly hoped it was. I think my sister and I have added another line “Gonna used turpentine, gotta keep those brushes clean” unless there’s another clip I can’t find.
OK so moving away from my thoughts going into the film before the release of the film there really wasn’t many gold digging films before 1969, looked at only briefly as only an aspect of frontier life. Not the setting for a whole film, just a passing location. Not as focused as The Spoilers (1942) which is just off the top of my head. Films usually centering around greed and power that the yellow metal can produce once found. We don’t really leave this once location for long. Instead we become immersed in this male dominated world, in a male dominated genre that sees women pushed to the sidelines. This very aspect of the genre’s poked and prodded for the first hour.
Taking a step back to having both Marvin and Eastwood in the same film which would be a dream come true if it was a straight Western it would be too much to handle. Instead I have to settle for a musical which if I’m honest has encouraged me to write a review and consider the genre in a different way once more. As much it is a chance for escapism and a sing along. I couldn’t imagine either two of these actors really singing or taking it seriously. I know that Marvin had a hit with Wand’rin’ Star not really wanting to believe that fact until I see it. As an audience we don’t really expect them to sing not perfect even before the days of auto-tune. Instead they do hit the notes but they aren’t blowing me away. Saying that, it doesn’t matter as this s out of the ordinary, much like Mama Mia (2008) we don’t want sopranos or trained professionals. They instead do the job fine and have fun doing it.
Thinking like that it means that, the film’s aimed at two audiences, with music for the music lovers and the actors for the rest, it’s a win-win situation. Added that you like Westerns you are getting an extra treat.
Going back to the themes of the film, a overally masculine film which knows it can stay that way, I wouldn’t call it modern though, thinking of progress in frontier terms. The male dominated gold mining town of No Name needs women to satisfy certain urges and needs that have been going without for so long. With the arrival of a Mormon and his two wives, one being the headstrong Elizabeth (Jean Seberg) who under the laws of the goldmine’s sold to the highest bidder – Ben Rumson (Marvin) who in turn shares with her with his mining partner Pardner (Eastwood). The morals of the day are mocked and trivialized. The power of religion’s mocked at the beginning, living by their own laws that work in a male dominated society under mining laws, all finds are filed and legal, It makes sense in the days before California was given statehood have to fend for themselves. I found Seberg’s involvement in the film odd at times, coming more from a world of French New Waves to a big-budget musical. Working off two actors who as big as the genre who work well opposite her. She’s no longer the free-loving girl of Breathless she has grown up.
As the film progresses the need for women increases as two men live with a similar arrangement to Mormon’s. The society adopt and adapt whatever ideas that make life easier for them and why not if everyone is happy. All this leads up to the boom-town that all gold-mines have become before they climax and collapse. With the kidnapping of French prostitutes times are indeed a-changing and for the better for a time. A town grows over night, gold is making this town come alive, more come to take advantage of the delights and sins that are within the mountains. Enter the Parson (Alan Dexter) whose mocked at every turn up the very end of the film. With the arrival of winter storm Elizabeth takes in a religious family who are innocent to the sins of this town. We see both Pardner and Elizabeth change overnight almost whilst boisterous and un-tamable Rumson who opens the eyes of the oldest to what can indulge himself, sins that make him a man of the frontier.
It’s a musical that mocks the genre at time when it had grown tired and for time it raises it up to become something bigger and magical. Songs that to me aren’t largely important. They move the film forward, mainly light and celebratory in tone. Based on folk songs of the period larger than life pieces that stop the film for five minutes as one character sings their heart out. They do uplift without a doubt with a heavy dose of humour which ensured I stayed the course of the film as it falls into farce meeting reality as the town collapsing and people begin to move on to the next boo town so the cycle would begin again.