KNIGHTS OF THE ROUND TABLE
(M.G.M.-CinemaScope) | DON’T recall ever having read that Sir Lancelot du Lac had a white horse as intelligent as Hopalong Cassidy’s, but the versions of the Arthurian legend in circulation are so multitudinous (and my own scholarship is so restricted) that I wouldn’t dream of suggesting that it wasn’t according to Hoyle -or Nennius, or Geoffrey of Monmouth, or Malory, or any other of the chroniclers, ancient or modern, Knights of the Round Table, on the whole, seemed to me a fairly consistent version ‘of Malory’s Morte d’Arthur. It is notably more ambitious, more finished in detail, above all, more serious than the unconsciously comic Prince Valiant, seen here a short time ago. But I doubt if it will be more fun for the juveniles. It had its lighter. moments (notably the first encounter of Arthur and Lancelot, and Lancelot’s joust with the Green Knight) which reminded me irresistibly of T. H. White’s’ down-to-earth descriptions of knight-errantry, but the theme from the outset is tragic-the destruction of good by evil-and it wasn’t merely Stanley Baker’s relative competence as an actor that. made the treacherous Sir Modred the focus of attention. oe Knights of the Round Table has some first-rate. pictorial photography good deal of the was shot. on location in England and Ireland; Aya was shot in situ in Hollywood), some good jousting and a hawking sequence. As (continued on next page)
with so many historical movies, it is on the whole more interesting to look at than to listen to.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19541015.2.40.1.3
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New Zealand Listener, Volume 31, Issue 795, 15 October 1954, Page 20
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255KNIGHTS OF THE ROUND TABLE New Zealand Listener, Volume 31, Issue 795, 15 October 1954, Page 20
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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