"Merlyn told me once: Never be too disturbed if you don't understand what a woman is thinking. They don't do it often."
King Arthur (Richard Harris)
"Camelot," which premiered 50 years ago today, was hindered from the start by the movie's times.
A few years earlier, in an interview, former first lady Jackie Kennedy equated her husband's presidency to Camelot. The recording of the songs from the musical had been one of his favorites, she told historian Theodore H. White, saying that she wanted her husband to be remembered by the standards of Camelot — "well–meaning, fallibly human but ultimately idealistic."
I don't know if that is how people, more than 50 years after the president's assassination, think of the Kennedy years, but the connection didn't exist when he was assassinated in 1963. At that time, "Camelot" was a successful Broadway musical, but most Americans had probably never seen it.
That probably wasn't important, though. As film critic Roger Ebert pointed out in his review of the movie, "Camelot never really existed, so everybody can invent his own."
Ebert also pointed out that Richard Harris and Vanessa Redgrave were "just about the best King Arthur and Queen Guenevere I can imagine."
As I say, most Americans had probably never seen the musical, but lots of folks saw the movie. It was the 11th highest–grossing movie of 1967 — but, ironically, the theatrical rentals were insufficient to show a profit. I guess the rental charge was so high many theaters had trouble making the money back on ticket sales — of which there obviously were many.
After all, it cleared more than $31 million at the box office, which is a lot of money today but was an awful lot of money in 1967. Clearly, the public was interested in it — an interest that could be explained, in part, by how much airplay songs from the musical had received, and, again in part, by the star power of the cast.
But I think it was probably fueled mostly by the link between the story and the slain president — and all the emotions that stirred up. Oh, sure, there were some who were drawn by the music — which received an Oscar — but I have long believed most of the interest stemmed from Jackie Kennedy's interview.
Incidentally "Camelot" won a couple of other Oscars, too, but none for acting. In fact, none of the actors were even nominated.
While the music might have been inspirational for a Kennedy legacy, it probably was best for Kennedy's admirers not to pay close attention to the details of the story — which featured a love triangle that involved the king, the queen and Sir Lancelot (Franco Nero).
Given the stories about the president, his brother and Marilyn Monroe, that might not have gone over well if it had been discussed at any length.
I have long believed that Jackie Kennedy, like Priscilla Presley, was responsible for much of her husband's public image after his death.
Anyway ...
I'll not spend time and space discussing the story — which was already rich with ironies before the theatrical rentals failed to turn a profit — because I think most of us already know the story of King Arthur and his knights of the Round Table.
What I will say, though, is that some of those things that you might not necessarily notice in other films — like costume design and art direction — you will notice in "Camelot." The Academy certainly did, rewarding both with Oscars.
"Don't let it be forgot
That once there was a spot
For one brief shining moment
That was known as Camelot."
