The Lion in Winter (1968) Director: Anthony Harvey Watched: April 2018 3/10 {Clue: This film would have been better categorized as such} Challenging and exhausting film to watch and not in a good way, Outside research necessary to better understand (e.g., Eleanor has been imprisoned for aiding their eldest son- now deceased- in treason), Maybe an entertaining read or play where the overacting, yelling, and ruthless but witty banter might be better received, Every time it seems the serious part is about to begin or one feels something approaching care, it is revealed as an artifice, Downright chaotic and difficult to take seriously with every character having multiple ulterior motives, endless inconsequential feuds, cruelty laced altercations that somehow warp into love scenes and back again, and constant retracting of words and nullification of actions, Yes, even Henry and Eleanor's closing lines are laughs- as he is sending her back to prison- mere moments after Henry tried to execute his sons as a punishment for treason, but instead lets them run away! Acrostic is a form of poetry where the first letters in each line, paragraph, or word are doubly used to spell a name, phrase, or word. The word "acrostic" comes from the Greek words "akros" (outermost) and "stichos" (line of verse). Read the appropriate letters in the poem vertically to reveal the extra message, called the "acrostich"! #Acrostic #PoemReview

The Lion in Winter, based on James Goldman's play about treachery in the family of King Henry II, is an intense, fierce, personal drama, directed with evident pleasure by Anthony Harvey.Cataloging the vicious wrangling for inheritance one Christmas holiday, the action is mostly contained within one day. The all-powerful Henry II (Peter O'Toole), summons his politically ambitious family to a reunion in 1183, when a decision on succession is deemed advisable. This includes his exiled, embittered and imprisoned wife, Eleanor of Aquitaine (Katherine Hepburn), and three legitimate male offspring, along with his mistress and her brother, youthful king Philip of France. King Henry II schemes against the mother of his children, Eleanor to try to get his favorite son, a sniveling slack-jaw John (Nigel Terry), appointed as his successor while Eleanor hopes to position her favorite, the soldier genius Richard (Anthony Hopkins), as the heir apparent. Meanwhile, middle child, the reserved and quiet Geoffrey (John Castle) hopes to play them all against one another and come out victorious as the future king. The members of this tempestuous family jockey for position and brutally squabble among each other, rekindling every injury suffered and adding new, Homeric insults to their already bruised reputations.In one day, the seven characters are stripped bare of all inner torments, outward pretensions and governing personality traits. Goldman blends in his absorbing screenplay elements of love, hate, frustration, fulfillment, ambition and greed. The relationships between people, though ambivalent, are ambivalent with a certain satisfying ferocity. Director Anthony Harvey's knowledge of the craft aids him in keeping the tension high and never letting the audience settle for long on an outcome in the constant feud, with twists, turns and plenty of incredible backstabbing.Even though Terry, Castle and especially Hopkins are all at the top of their craft, this film is all about the thorny and turbulent relationship between Henry and Eleanor, whom he's had imprisoned to keep her from meddling with his empire. A marvelously flamboyant Peter O'Toole plays the revolting king to the hilt and holds his own against Katherine Hepburn in a witty, literate, and inventive script. Hepburn is simply magnificent as the scheming and shrewd Eleanor of Aquitaine. There is something about an actress with this degree of presence and a wholly distinct, pleasant and idiosyncratic voice that gets her through even misplaced weepy or extravagant scenes. Her verbal duels with the equally impressive O'Toole are spellbinding. Both play their scenes with great passion, vigor and expertise. Right from the first scene, they both show a wonderful relish for even the most mundane sarcastic line.Despite feeling a bit stage-bound, The Lion in Winter is every bit as engrossing and watchable. It's a nuanced, gorgeous film that keeps you riveted right from the word go.

1183 AD: King Henry II (Peter O'Toole)'s three sons all want to inherit the throne, but he will not commit to a choice. They and his wife (Katharine Hepburn) variously plot to force him.The best part of this film? When John says, "You stink. You're a stinker and you stink." Hilarious. The worst part? Katharine Hepburn. Although she plays a very good Eleanor of Aquitaine, and really gets into the conniving of the character (much more than Glenn Close in the remake), she still has that annoying quality that only Hepburn had.Luckily, Peter O'Toole and the supporting cast shine and make up for any shortfalls there might be. A true classic of the historical royal genre (or whatever the proper term is).

Certainly well mounted but is it really much more than a soap opera circa 1150? Katherine Hepburn is Eleanor of Acquitaine, released from jail by husband Henry II (Peter O'Toole) for Christmas. Their power struggle to name an heir to the throne goes on for two hours plus with witty one- liners thrown out like Molotov cocktails. The two leads, along with Anthony Hopkins, Timothy Dalton, Jane Merrow, John Castle, and Nigel Terry, act up a storm reciting James Goldman's acid tinged dialog with a lot of gusto. One is left, however, with a feeling of emptiness as this movie drones on and on. It's exhausting. The direction (which consists primarily of having a camera follow the players around) is by Anthony Harvey and the production values are all first rate from the cinematography by Douglas Slocombe to the faux-regal score by John Barry. This movie one many awards including the Oscar for its screenplay.