Joshua Logan
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Redgrave brings her trademark wit and gravitas to the proceedings, and her onscreen reunion with Nero, whom she met on the set of "Camelot" (1967), is the film's emotional highlight.
And when Redgrave, the aging still beautiful Juliet, meets up again with her one time Romeo and we see that it is her real life love Franco Nero (the two originally met while filming Camelot in 1967) – the passion between the two is palpable and practically leaps off the screen.
That one of the Lorenzos here happens to be Franco Nero, her real-life husband (and Lancelot to her Guinevere in the 1967 film version of Camelot), adds a layer of art-imitating-life frosting to the cake.
For devotees of the 1967 film version of Camelot, it is a glorious treat to see Guenevere reunited with her Lancelot once again, 43 years later – a love that might even impress Romeo and Juliet themselves.
Well, here's another romcom with one dimensional characters in the foreground triangle, but this one's raised up a notch by glorious Italian locations and the regal warmth of Vanessa Redgrave searching for a lost love in a subplot which mirrors the actress's own (Redgrave had a son with her "Camelot" costar Nero back in 1969, but married him years later, in 2006).
Late in the going we’re treated to a reunion of Redgrave with Franco Nero, the Lancelot to her Guenevere in 1967’s “Camelot,’’ and the ease with which these two portray mature passion is deeply touching.
The French Dispatch of the Liberty, Kansas Evening Sun (2021)
Directed by Wes Anderson
influenced by Picnic (1955)
“The French Dispatch” will require multiple watches in order to pick apart the subtle references thrown in for those eagle eyed viewers (How about a nod to William Inge’s “Picnic”).
As the haunting South Pacific standard “Bali Hai” plays on the radio, Winslet moves in on Hemsworth’s bare chest with her measuring tape and he whispers sweet nothings in her ear as she works.
Results are results, and there’s no harm in a bit of romantic idealism (represented by repeated spins of the South Pacific soundtrack album).
Hogan employs “Bali H’ai” from South Pacific as the movie’s theme—an inspired, theater queen, connection to the Australian cult filmWelcome to Woop Woop.
Those who may remember the chaste renditions of Guinevere delivered by Julie Andrews on Broadway and Vanessa Redgrave in the screen adaptation of Camelot, will be shocked by this edition.
If you're looking for something closer to the Arthur legends, or if you just want to see some old-fashioned knights in shining armor rescuing fair damsels in distress, you might consider John Boorman's excellent "Excalibur" (1981), the best of the lot; or "Ivanhoe" (1952), "Knights of the Round Table" (1953), "Prince Valiant" (1954), "The Black Knight" (1954), "Sword of Lancelot" (1963), "Lancelot du Lac" (1974), "Sword of the Valiant" (1982), "First Knight" (1995), "Dragonheart" (1996), the musical "Camelot" (1967), or even the zany "Monty Python and the Holy Grail" (1975).
For aficionados of such things, I should point out that this movie is not quite in the rarefied company of "Paint Your Wagon" – which featured Clint Eastwood and Lee Marvin tonelessly warbling – or "At Long Last Love," which pretty much soured Hollywood on the musical genre for years.
In "The Gladiator," he's stalwart, muscled General Maximus, who becomes the favorite of frail Emperor Marcus Aurelius (Richard Harris, looking as if he were floating out of "Camelot").
Marcus Aurelius, a haggard Richard Harris sounding a bit like the legendary king he played in Camelot, muses that "there once was a dream that was Rome."
Esta composición vendrá reforzada por un momento de aparición determinante dentro del avance narrativo, una técnica de edición que la recorta y la deja perfectamente enmarcada en una escena primordial como protagonista indiscutible de la acción, como ocurrió con la inolvidable Wandering Star que Lee Marvin interpretó con trágica resignación en el western de Joshua Logan, La leyenda de la ciudad sin nombre (Paint Your Wagon, 1969).
Even the quiddities of marriage seem artificial when Hinds and Dench, racing toward Oscar nominations, slow-dance to “How to Handle a Woman” from Camelot , yet Branagh doesn’t indicate what Irishman Richard Harris’s then-recent film version might have meant to homefolk.
In one of the high-octane film’s best and quietest moments, he visits Moriarty (played by Jared Harris, son of Richard Harris of “Camelot” and the original Dumbledore in the first Harry Potter movies) to ask whether they can agree to let Watson be free of any entanglement in the unpleasantness ahead.
One of my colleagues has already noted that with acres and acres of corn rising "as high as an elephant’s eye," in the words of the lyric in South Pacific by Oscar Hammerstein II, there’s no sign of any farm equipment or chores.
Hansel & Gretel: Witch Hunters (2013)
Directed by Tommy Wirkola
influenced by Paint Your Wagon (1969)
(He clearly hasn’t seen Paint Your Wagon).
Irrepressible impresario Zidler (Jim Broadbent) performs “Like a Virgin,” updating Luther Billis’s “South Pacific” comic relief.
Two of Miranda's more brazen nods to show-tune geekiness are to "South Pacific" --"I'm with you but the situation is fraught/ You've got to be carefully taught," Burr sings in a number set in a pre-revolutionary tavern) -- and Gilbert and Sullivan's "The Pirates of Penzance," when George Washington (Chris Jackson) introduces himself as "the model of a modern major general/ the venerated Virginian veteran whose men are all/ Lining up, to put me on a pedestal."
Theater fans who mourn that so many Broadway shows are retreads of the oldies; “South Pacific,” “Fiddler on the Roof,” “West Side Story,” “My Fair Lady,” “The Music Man,” will cheer that “Hamilton” is thoroughly original.
That it is sentimental can hardly be disputed, and the songs are undoubtedly a bit sweet and gooey, but whatever, it works as cinema: much, much better than the stiff and soulless like of My Fair Lady , and considerably better than any of the other films based on Rodgers & Hammerstein's earlier (and mostly superior) shows, ranging from the grimly average ( Carousel ) to the grotesquely unacceptable ( South Pacific ) - I understand that there are those who admire the 1956 movie of The King and I , and good for them.
A Million Ways to Die in the West (2014)
Directed by Seth MacFarlane
influenced by Paint Your Wagon (1969)
Given his knack for singing — the guy truly is multi-talented — MacFarlane might have done better with following the musical comedy example of Paint Your Wagon rather than the slapstick of Mel Brooks for his western swing.
The Ballad of Buster Scruggs (2018)
Directed by Joel Coen
influenced by Paint Your Wagon (1969)
Characters
In one episode, Tom Waits plays a harrumphing gold prospector who looks and sounds even more unkempt and gruff than Lee Marvin in Paint Your Wagon .
Of course, there were plenty of mediocre pictures that got roadshow treatment in the glory days—for every “Lawrence of Arabia” there was a “55 Days at Peking” (or virtually any other Samuel Bronston production), and for every “Sound of Music” or “My Fair Lady” there was a “Paint Your Wagon” or “Star.”