New Rep Theatre Man of La Mancha Barner Review
A Rather Solid Musical!
The users on this board seemed to concur that this was somehow a bad musical but I disagree. I'one thousand really particular when it comes to people but bursting out into song for no apparent reason and this was one of those few times where I actually liked it. I've always enjoyed the Don Quixote story and this was a fantastic turnaround. I tin see why some viewers say that the singing wasn't near as extraordinary as it was on Broadway simply few film adaptations are. Too the acting was stellar and information technology drew out extreme emotions of happiness, sorrow, or laughter out of me at times. Though dirty and ragged I found Sophia Lauren to however be beautiful and her trunk is admittedly perfect in every way I can fathom. Peter O'Toole was great as a crazy former man set up forth on an unattainable quest for glory and at the cease someone who had to once again face up the harsh life of reality. For those of united states who haven't seen it on the phase I feel information technology is a wonderful performance that was thoroughly enjoyable for persons of all ages that are looking to be whisked away past a tiny bit of magic! I'm positive that I'll have some of the songs stuck in my head for at least several days now.
Final Bonfire:
Movies: I don't commonly see musicals on the big screen.
DVD Buy: If my upkeep ever increases to a more desirable level.
Rental: An awesome choice!
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Jacques Brel volition brand information technology a mystic and mythical ballsy
Alert: Spoilers
The film is of course a pure creation and it is built on 3 layers, all of them fictitious, more than or less, but always a little or a lot according to what you know or call back of Cervantes and Don Quixote. First Cervantes, and then Alonso Quijano and finally Don Quixote. The beginning one is the author. The second one is the real identity of the graphic symbol. The 3rd one is his imaginary identity in his knight errant fantasy and delusion.
The film centers on Cervantes, a playwright and actor who performs in the market place. His plays are satirical and hence attack directly or indirectly the all-powerful church in Espana. It is true Cervantes was excommunicated by the inquisition, but here he is arrested, imprisoned in an hush-hush dungeon and finally summoned for his trial and we will never know the end of information technology, though we know he was not executed, far from information technology.
So the film puts him on trial in the vast dungeon where he is imprisoned by the people in the dungeon, nether the authority of the 1 who was appointed governor of this secret society by the inhabitants of this netherland. To defend himself he gets the right to perform his Don Quixote story, whose manuscript got nearly burnt. He uses his props and masks and all the people in the dungeon take part. It is thus a clarification of the life in such a prison and of a play that is acted in good organized religion and with fun past the prisoners as an entertainment. Recollect or dream of an entertainment in such a miserable surroundings where you practice not come across the light of twenty-four hour period and where anyone can be summoned for trial, which ways questioning (I guess this is a nice discussion for torturing) then sentencing and executing.
If the play is performed in the prison, the camera takes us in real outside décor and setting and we become the Don Quixote story in the real imaginary globe of Cervantes. And we get everything, the behemothic windmills, the horse Rocinante, the whore Dulcinea, and many other niceties of that kind draped in some fantasy or mirage past Don Quixote. That world is barbarous, cruel with women first of all, cruel with people who are not "normal" so, those who seem to be slightly "crazy" or "corrugated" if not plainly "deranged suckers." Violence is the basic condiment of this life and for women it is rape, which is not rape really in those days, simply using the woman the way she is supposed to exist for. Willing or not is not a question in those days and love is cypher but sex at the asking of the human being and no is not a possible reply from the woman. Like it or not, that's your function. The film is not fuzzy about it.
And still that makes Don Quixote really crazy who lives in a globe of chivalry that has been long gone in the sixteenth century, a world of chivalric and courteous love that has never really existed, except as a dream in the minds of some medieval poets, a world of honour, glory and enchanters, hence of some kind of magic that has never had the slightest beginning of an existence or reality.
But we evade these two worlds into the real world of the fictional character Alonso Quijano who is dying. He is on his death bed totally unaware of his fantastic adventures when his servant Sancho and the inn maid from the local inn come up to visit him and try to revive his delusion to lead him to a pleasurable death. And little by petty his retentiveness comes dorsum and he dies singing the song about reaching the unreachable star, equally if dying was the surest way to do then, just it sure is a pleasant way to die for Don Quixote, or is it Alonso Quijano?
The last and fascinating aspect of the film I desire to mention is the music and the songs. They are absolutely mesmerizing and they are worth a fortune of pleasance. We can understand why Jacques Brel recorded the score in its French accommodation. There is no difference between, that Don Quixote so many of the characters in Jacques Brel'south songs, Jacky, Jef and innumerable other Caporal Casse Pompon. It is a true testament about real truthful voracious life fantasized by a truly insane person who believes a globe that was a dream in the Middle Ages is possible in today's global village. The film hither works on that dimension so well that there is no hope of any salvation in this universe, nor in whatever other mail mortem cosmos except dying singing almost a dreamlike Never- never-land with a Helm Hook and a Tinkerbell in the childish heed of Peter Pan. "I could pretend I'm flying away."
Well done but not quite for younger children.
Dr Jacques COULARDEAU
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maligned and misunderstood
Bringing big Broadway musicals to the screen has always posed tremendous problems for film makers. The results have by and large been unsatisfactory, with few exceptions. The tardily 60'due south brought us "Camelot", (67),"Hello Dolly" (69) and "Fiddler on the Roof" (71), all films adhering to the unquestioned rule that bigger is meliorate, be it casts, sets and orchestrations. All three were overblown bores. Arthur Hiller's concept for "Human of La Mancha" is clearly the antithesis of what had go expected of the musical on pic. He decided to use the film media not as a device for augmentation in a broad sense, but rather to focus in on the characters and bring them as close to the audience as possible using naturally many close-ups. They are the crux of the pic; not massive sets, huge choruses or dazzling choreography. "Homo of la Mancha" boasts two fine songs; the balance are pretty mediocre, which justifies Hiller's keeping the music as a device to serve the characters and not the other way effectually. From the very start with the credits appearing, the audition is geared up for i of those massively orchestrated rousing overtures. Nevertheless, what we are offered is an underscored, almost bedchamber music mode overture setting the tone for the entire film. The message as with chamber music is clear; the focus is on the content, not the trappings.
The critics more often than not hated the moving-picture show. Maltin in particular is uncharacteristically fell in his criticism. They just were non prepared to accept an unorthodox arroyo to a huge Broadway success. While "Dolly", "Camelot" and "Fiddler" tend to be almost impossible viewing today, "Man of La Mancha" remains astonishingly fresh, very much vindicating Hiller's concept of this much maligned and misunderstood moving-picture show.
Existence and so focused on character, the films success would lie with its principal players. O'Toole gives a bravura performance, 1 of his finest, while Loren too, is perfect in her office. Sure the soundtrack is not one to listen to in the way one would a Broadway musical. But both O'Toole's and Loren's shaky vocals are in perfect sync with the fragility of their characters and hence very human and very moving. If more Broadway musicals had been brought to the screen with such a articulate concept every bit was "La Mancha", the movie musical may have enjoyed far greater success.
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blinded by tears
I must take a major blind spot considering I loved this flick in 1972
when I saw information technology the first fourth dimension and the second and the third time. Now
I have become an semi-regularly woeful countenanced man
myself and I beloved it fifty-fifty more. My heart started to stir watching
O'Toole'south speech at the Oscars so I re-rented La Mancha even every bit
it was beingness removed from the active shelf at my local Hollywood
video. I took it home and played it for the youngest of my five
daughters, xi year onetime Mary. She loves musicals as much as I
do. She got into it. I cried again. Sorry. I honey this pic. Like I said, I
must take a tin ear or a blind spot or goddamn information technology, maybe I'm correct. Man of La Mancha is a 10 plus and a must for all O'Toole fans
which at this point should be about everybody who loves movies. Let the revisionism begin here. O'Toole and Loren> C'mon
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Superb
Every bit ane who is familiar with the works of Cervantes I must say that this particular representation is amid if not the best of all.
Peter O'Toole leads an ensemble of many of the best actors, and actresses of the time. Among them that classical dazzler Sophia Loren, who played Aldonza/Dulcenea to perfection.
O'Toole gives what I consider to be ane of his best, if non the best performance of his life. His natural mode captivates audiences, totally. I have seen few actors who can human action and then natural, and with such eloquence. His gift of oratory is quite remarkable.
The beautiful Loren with her natural acting way, and wit gives the character of Aldonza/Dulcenea the about justice whatever actress can give a role.
The remainder of the cast, the priest, Quijana's niece, housekeeper, play the part of self centered people fooling themselves into "they're simply thinking of his (Quijana/Quixote'south) well existence , to the space caste. Equally talented were the muleteers , Pedro the caput muleteer was a real card.
The audience must take into consideration the fact that almost all the actors, and actresses were playing dual roles. This in an of itself is an credit to their acting abilities.
No commentary would exist complete without mentioning the music. It ranks as 1 of my meridian ten soundtracks. I heed to some of the songs on an nigh daily basis.
This moving-picture show is superb.
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Peter O'Toole as Miguel de Cervantes and Don Quixote ends up with Sophia Loren equally a kitchen maid turning into Dulcinea.
I never liked the 400 yr old earth famous novel, as I felt its graphic symbol a painful embarrassment doing nothing merely making a fool of himself in a kind of madness I could never stand every bit completely out of all detachment. But this play and film actually makes something serious out of this dismal story, which I could never find funny in whatever way. What's and so funny in presenting the weakness and madness of an onetime demented man making a painful spectacle of himself?
Instead of being only virtually the one-time painful failure and loser, it's nearly Miguel de Cervantes himself, who gets into trouble with the inquisition and is put in jail together with thiefs, murderers and wicked ladies. They are managed past an old ruffian nicknamed the Governor (Harry Andrews), who according to tradition puts the newcomer to trial to be prosecuted by these gangsters and murderers. For his defense Cervantes presents his character Don Quixote and stages his story.
Thus the scene changes into the poor erstwhile human's adventures with the windmill, at an inn and with his fearful relatives. The trollop at the inn Sophia Loren is eventually discovered by him as his Dulcinea, while he has a fearful rival in Brian Blessed, who is a villain indeed and makes the best of information technology, while they couldn't have constitute any amend Sancho Panza than James Coco. There is too a immature Ian Richardson as the priest.
To all this comes the marvel of a great musical. Mitch Leigh really finds his way into the very element of Spanish music, there are some keen dance nu,bers as well,.and the lyrics of Dale Wassermann add to brand this moving-picture show as paramount a filmed musical as "Fiddler on the Roof". This is a joy to behold once again and once more, for you cannot run across this pic without wanting to come across it sometime again.
To this comes also the metaphysical or psychological aspect. When Don Quixote finally wakes upwards in his bed he has forgotten all his adventures, they are lost to him equally forgotten dreams, while realÃty appears equally a prevarication. The madness of the knight of the woeful countenance was really the truth, and Peter O'Toole manages eloquently to present this paradox in his acting, that he was true and sane as mad, while brought to reality he has lost everything that had whatever meaning.
This is also the greatness of the novel, and this picture show and play manages marvellously to bring this out.
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Better than the play
There are those who would have you believe that this is a bad motion-picture show because it deviates from the stage musical. In the play, for example, Sancho has a grating high-pitched voice whereas in the movie, his voice is warmer and stronger. Another example is the deletion of sure songs such as the completely unnecessary and boring "What Exercise You Desire of Me?" and "To Each His Dulcinea." In addition, Cervantes is jailed on stage for foreclosing a church. In the movie, he is sent before the Inquisition on grounds of heresy. This makes the whole affair that much more pregnant and important. It also relates to a primal theme in the motion-picture show, that Cervantes' and indeed Don Quixote'southward way of fighting back at the world is to imagine a new world. To dream, as it were, the impossible dream.
The stage version was one of the virtually substantially flawed in Broadway's history. Richard Kiley (the original stage actor) had a stiff, powerful vocalization, that is true, just information technology didn't sound like Don Quixote. The man who dubs Peter O'Toole's voice in the picture show, however, sounds not just like Peter O'Toole, just like Don Quixote.
Indeed, the but thing about the pic that is different from the play is that the actors in the flick are GOOD! And they don't just put on big, fake, funny voices in the traditional idiotic Broadway fashion. They portray their characters honestly and in keeping with the spirit of the story. And information technology is a story that everyone should hear. If y'all are like me, a lifelong chaser of incommunicable dreams, then the story of ane man'south quest to slay giants which are really windmills cannot be ignored.
And don't exist such a stuck-up tight ass near film adaptations. Of Form they're going to be different, that doesn't make them worse.
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A bang-up movie
This is one of my favorite movies of all fourth dimension. It saddens me that there are those out there who call up this movie was horrible. How can you watch O'Toole give his speech: "Maddest of all: to see life as it is and non equally it should be!" and non be brought to emotion? This moving-picture show is not exactly like the theater version. Even so, if yous note who fabricated the screenplay changes, the vocal changes, etc., it's the same men who worked on the play. In that location are some good songs cut out. And Peter O'Toole and Sophia Loren are not the world's best singers. But this movie is brilliant. Coco is a wonderful Sancho, I love his voice and his expression. O'Toole is a fabulous actor and I felt similar the prisoners in the stop singing "The Impossible Dream." I own this movie. I encourage anyone who hasn't seen it to go get it and picket it. It has inspired me to endeavour to do ameliorate in everything I practise, and I often watch it and sing the songs to remind me to "run into life equally it should be." And if this moving-picture show needs a defender, I sign up for the job.
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What fantastic lines: "I made a error, I told the truth."
That was the response of one of the Inquisition prisoners to the enquiry, "Why are you here?" "I was selling lies about one country to fools in the other state who believed me when........." The fact that O'toole tin't sing for diddly is OK by me. He played the mad wise one-time human being and then wonderfully. The subtle idea that they were all imprisoned past the Inquisition manned by beasts who performed torture in the proper noun of Jesus, who was tortured in a similar Inquisition, "Are you the Messiah?", etc. leaves you reverberating.
Merely as you too sit and think about the recursive prove within a testify inside a show that you are seeing. We were shown one other aspect of the decadent Christian church by the priest who plots with the niece and her fiance to bring the old man back to his 'senses' so he tin legally will her his property.
There are so many lines in this movie that are momentous. Just the very thought in this jaded time that there are beliefs worth dying for, worth fighting the valiant but unwinnable boxing against the implacable foe for, really knocks me out!!! Was anyone E'er then innocent, then pure?
I alive in a country where the president, the Supreme Courtroom and the Congress are filled with low life liars, and notwithstanding at that place are Americans hither who are as noble every bit Senor Cervantes. There is another noble character in hither that I would love to see analyzed by some of yous scholars: that'southward the innkeeper/head of the prisoners. He has the respect of the mob, is a stable effigy full of common sense, just yet is wise enough to respect the noble mad knight.
And then at that place's the squire, Cervante'southward neighbor. He reminded me of my feelings toward Bill Clinton, when he answered the question, "Why do you follow this madman?" "I like him. I just Similar him." He'southward crazy, he'south mad, he is engaged in an unwinnable fight, but "I like him". And Sophia Loren as the Mary Magdelene figure: those mauling scenes were excellently done, because they scared me and fabricated me fear for her prophylactic, as the men all but rape her. Possibly the reason they didn't was like to the alibi I heard for my great-slap-up-grandfather's 'kindness' toward his slaves in Opp, Al.: "You don't mistreat your horses, cause you want them to be around tomorrow healthy enough to work for you."
I checked this one out from the rental store, but I will now seek to buy information technology, as it'southward ane that I will re-visit from time to time as I and my country changes. Will we ever accept some other fourth dimension in the USA when 'expert' people are able to brand changes, when our planet is not allowed to exist despoiled by our ain regime? Or is that to be left to another country whose Constitution is based on freedom, however uncorrupted?
"When in the course of human events, it becomes necessary to shake loose the bonds of government..........." I'1000 afraid it's near time.
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Greatest Motion picture Ever
I consider myself somewhat of a movie aficionado, having seen several thou movies over the by twoscore years; and I tin can unequivocably say that "Man of La Mancha" is my all-fourth dimension favorite moving-picture show. While some of the familiar criticisms lodged against information technology are valid, there is still no other moving picture that can approach its depth or poignancy. I judge a picture show by its ability to move me: to make me laugh, to make me cry, to make me call up. This motion picture tackles one of the greatest themes of life: whether to live in a helpful illusion or alive in the harshness of reality. Don Quixote's story is the ultimate in human heroism, a tragic man of courage struggling to see and live life, not every bit it is, merely every bit information technology should exist. His unwavering idealism in the face of all-too-familiar cynicism and skepticism is both foolhardy and inspiring. This film always leaves me, not with tears trickling, but with keen sobbing. I strongly recommend it for both your eye and your head.
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Lively and enjoyable musical version based on immortal novel written by Miguel De Cervantes Saavedra
Musical rendition upon the best literary piece of work ever written that stands in a unique position between medieval chivalric romance and the modern novel . This ¨Man of La Mancha¨ adapted from the musical play , a hit Broadway , by Dale Wasserman , being compellingly directed by Arthur Hiller packs a nice cast such as Peter O'Toole , James Coco , Sofia Loren , Harry Andrews , John Castle , Brian Blessed , Ian Richardson and Rosalie Crutchley . Based on the archetype novel written by Miguel De Cervantes , Don Quixote is considered one of the well-nigh influential works of literature from the Castilian Gold Age and the entire Spanish literary canon and deemed to be one of the greatest novels in literature history . Miguel De Cervantes (Peter O'Toole) is framed by an issue allegedly from the thunderous life and is incarcerated by the Inquisition . Don Quixote (Peter O'Toole) is the crazy , crumbling nobleman who embarrasses his respectable family by his feats . It follows the adventures of a nameless Hidalgo who reads so many chivalric romances that he loses his sanity and decides to set out to revive chivalry , undo wrongs , and bring justice to the world , under the name Don Quixote . To these ends, ¨Alonso Quixano¨ dons an former suit of armour , renames himself "Don Quixote", names his wearied equus caballus "Rocinante", and designates Aldonza Lorenzo (Sophia Loren) ,who is actually a downtrodden prostitute , every bit his lady love , renaming her Dulcinea del Toboso . Quijote , nearing l and some years of age , recruits a simple farmer, Sancho Panza (James Coco) , every bit his squire, who frequently employs a unique , earthy wit in dealing with Don Quixote'southward rhetorical orations on blowsy knighthood . Adjusted from the work of Miguel de Cervantes , nosotros then follow Don Quixote on their adventures , his squire Sancho Panza and an old equus caballus named Rocinante . On their journeys , they rescue dames in distress in honorable acts and fight giants among other perils , with Don longing to be with the love of his life , lady Dulcinea . Backed by his faithful sidekick Sancho Panza, he duels windmills and defends his perfect lady Dulcinea named Aldonza.
This musical version of The Man of La Mancha starred by Peter O'Toole as Cervantes and Don Quixote giving overnice acting . While Peter O'Toole was generally slated for his "singing" operation in the film, what many critics chose to overlook was the fact that this was not O'Toole's first musical ; indeed, his advent in Herbert Ross' musical remake of Goodbye, Mr. Chips (1969) . This is the astonishing and fun story of a Hidalgo , fanatic for chivalry novels , decides to go on imaginary adventures along with his friend , the elementary farmer Sancho Panza , who becomes his squire . This enduring romantic adventure deals the enthusiast , passionate knight Don Quixote and it is paced in enjoyable also equally deliberate rhythm . The flick is quite amusing with emphasis on spectacle and following freely the immortal novel scripted by MIguel De Cervantes Saavedra .At the flick occurs several known episodes , such as : when ¨the knight of sad countenance¨ arrives at an inn , which he believes to exist a castle , as he calls the prostitute he meets ,"lady¨ : Sophia Loren ; Don Quixote's attack on windmills that he believes to exist ferocious giants ; Don Quixote attacks 'the ¨knoght of the mirrors¨who actually results to be the Bachille Sanson Carrasco played by John Castle . Being stunningly photographed by first-class cameraman Giuseppe Rotunno and well produced by Alberto Grimaldi and Saul Chaplin .
¨The man of La Mancha¨ results to exist another of uncountable versions dealing with the unforgettable novel ¨Don Quijote De La Mancha¨ past Miguel Cervantes y Saavedra and in which Quixote and Sancho take on numerous dangers and adventures . Other recounting about this notorious story are the followings : ¨Don Quixote¨ (1933) past G.W. Pabst with Feodor Chaliapin Sr. ; ¨Don Quijote De La Mancha¨ by Rafael Gil with Rafael Rivelles , Juan Calvo and Sara Montiel ; Don Kikhot (1957) Russian recounting by Grigori Kozintsev with Nikolai Cherkasov as Don Quixote de la Mancha / Alonso Quixano ; ¨Orson Welles'south Don Quijote¨ with Akim Tamiroff ; ¨Don Quijote Cabalga De Nuevo¨ by Roberto Gabaldon with Cantinflas and Fernando Fernan Gomez ; and for American TV : ¨Don Quijote¨ by Peter Yates with John Lightgow and Bob Hoskins ; latterly : ¨Don Quixote: The Ingenious Gentleman of La Mancha¨ (2015) by Dave Dorsey . Likewise , Spanish series titled ¨El Quijote de Miguel de Cervantes" (1991) Television set serial 1991-1992 by Manuel Gutierrez Aragon with Fernando Rey , Alfredo Landa , Aitiana Sanchez Gijon , Manuel Alexandre , amongst others . And for cartoon movie was made ¨Don Quijote De La Mancha¨ by Cruz Delgado and ¨Donkey Xote¨ (2007) past Jose Pozo .
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The Message is More than Important...
I'll keep it short. The bulletin of this story is infinitely more important than any perceived flaws in casting, makeup, music, singing, etc. The emotions are there in this movie, and quite moving. The message is also at that place, and every bit fresh every bit it was when Cervantes wrote his famous book centuries agone. Don Quixote was a madman, yes, merely his "quest" is one we should all cover. Knight errantry, chivalry, pity, and treating women with kindness and respect may be considered terribly out of sync with todays values, but when I read stories about a 16 twelvemonth-one-time male child lured, by the promise of sex, to a savage beating decease at the hands of his peers, I seriously question the soundness of those values. In many ways, today'south world is every flake as "base and debauched" as it was during the Castilian Inquisition. Frankly, I would much rather live in Quixote'south "mad" version of the world than I would in the reality of this ane.
Squash the motion picture critic in you for a couple of hours and just enjoy the picture for it'southward wonderful message!
PS: I've been waiting years for Homo of La Mancha to come out on DVD. Anybody know when?
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Overblown, Confusing, simply Watch Sophia Loren
The reason the see this musical is to watch the gorgeous young Sophia Loren sing. The watching is more fun than the listening. When she is on screen, you just have to stare at her, in this otherwise overblown and confusing motion picture that really is not much of a musical at all. Peter O'Toole is a great actor, but he cannot sing (and is non specially well dubbed). The men in the chorus seem to know what they are doing, merely none of the principals does any dancing. One wonders what Miguel de Cervantes would make of this curious reinvention of his 1605 novel, Don Quixote.
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Could take been much ameliorate, simply it is not THAT bad
Man of La Mancha has often been on people'due south worst motion picture musicals listing. Seeing it recently to see whether it was as bad equally all that. After seeing information technology, information technology is a long manner from great but it isn't as bad as I'd heard(Hair and Annie have too been maligned and are other moving picture musicals that are not that bad, I personally love Annie and have done since childhood). It is nowhere near as proficient as West Side Story, Beauty and the Beast, The Sorcerer of Oz, Singin' in the Rain, Mary Poppins, Fiddler on the Roof and The Sound of Music, but it is ameliorate than Xanadu, Tin can't Stop the Music, Mame, Grease 2, Across the Universe, The Wiz, A Little Night Music and A Chorus Line.
Human of La Mancha is far from irredeemable. The best asset is the noble and commanding performance of Peter O'Toole, even if Aureate Helmet is slightly overacted and his make-up is far likewise heavy-looking. Sophia Loren is breathtakingly cute, sassy and mannerly, and James Coco is fun and touching, his character is much more subtle here than in the stage musical. The "maddest of all..." dialogue is incredibly poignant equally is the prison scene, the sets are hitting and while only two or three are truly memorable(The Incommunicable Dream is rightfully a archetype) the songs are very easy on the ear. Unfortunately The Man of Mancha has failings besides. I'chiliad going to have to agree about the singing, non only are the singers sick-suited for the songs but those who dub don't make much of an effort to audio similar the actors.
That is especially true of Simon Gilbert, an unsteady and underpowered vocalisation that doesn't sound much like O'Toole's quite noble and baritone-like speaking voice. IMDb too seems to say that Ian Richardson did his own singing for the Padre, I'chiliad not convinced, it may have been the instance but Richardson'southward speaking voice isn't really that similar to the reedy sound heard with the singing. Loren took a brave risk singing her own songs but it is a risk that doesn't pay off, she sounds strained and while she does have some singing ability(Harry Andrews' singing was as well rather limited) her range is besides low for the songs she sings. Some other problematic spot was Arthur Hiller'southward direction, the kind that doesn't have much of an idea in how to direct the motion-picture show. Often it is rather heavy-handed, self-conscious and of the try-too-difficult blazon.
With the visual wait, the sets are lovely just the photography could have done with a brighter and a more cinematic arroyo. There is non a fault to be had with the score and songs themselves, but in the film they seemed to take been nether-scored and anaemic, more grandeur and sweep would have been more welcome. The motion picture does deserve a niggling credit in trying to translate a big and quite difficult to stage already musical simply information technology tries so hard that much of the dialogue lose their affect and the story loses momentum. Not all the support cast piece of work, Ian Richardson is a sympathetic Padre only Brian Blessed's Pedro is wildly overplayed attired in a rather stereotypical costume.
Overall, not as bad every bit touted to be from a personal opinion stand-point but the criticisms are understandable actually and even with things that were done quite well Man of La Mancha could have been far better because the talent. 4/x Bethany Cox
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Great Theatrical Feel----Proficient Motion picture Experience, but......
I was privileged to have seen "Man of La Mancha" twice in the theater. These were riveting and unforgettable moments. As those who have seen it performed already know, the play was presented without intermission. Apparently this is because the drama builds up to such an emotional loftier equally the story unfolds that a pause in the narrative would have been both jarring and disorienting.
To that extent, the play was crafted nearly in the aforementioned vein every bit a flick-----without whatever break from kickoff to end.
The moving-picture show version sticks quite closely to its theatrical origins. Given the artistic personnel responsible for the film, this is quite understandable.
I thought that Sophia Loren was correct for the female leading role notwithstanding her express song range. She gave usa an emotionally charged and powerful functioning that overcame her lack of strength as a vocalist.
Peter O'Toole is another affair. Non only was his singing dubbed, simply O'Toole was a somewhat mannered and affected Cervantes. Admittedly, it may be a valid artistic conception to make the soldier/actor/poet/author/tilter at windmills effete and rather fragile. Merely the role as developed on the stage projected a man with more ability every bit he adopted his various guises.
Why didn't the filmmakers remember Howard Keel when they were casting the moving picture? He had a wonderful baritone vocalism, and exhibited in "Osculation Me Kate" and "Seven Brides for Seven Brothers" the kind of qualities that could take made Cervantes more appealing and less exhausted. Keel was a vibrant 53 in 1972------the yr when the film was released (O'Toole was and so xl). Certainly, that would accept been an appropriate age for the function. As a footnote, Keel played Cervantes in touring and summer stock productions of "Human being of La Mancha" for many years around the time the film was made.
We should be grateful that we take a more or less complete contemporaneous film business relationship of a legendary musical play. What a pity that this good musical motion picture wasn't made even more memorable by casting a worthy singing film actor in the male person lead. The score certainly did not do good from being sung from the oral fissure of such a depleted-actualization performer equally O'Toole. He should have stuck with "Lawrence of Arabia!"
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actually it'south pretty good
I've always heard bad things about this film until fairly recently from some posters on here then I decided to check it out since I like the original show (which I've never seen, just I have the bandage album). It's a star studded affair with Peter O'Toole and Sophia Loren in the leads. An elaborate framing device sets up the story equally i told by Cervantes (O'Toole) to boyfriend prisoners awaiting trial past the court of the inquisition. I liked the framing device, and it gave opportunities for all the actors to essentially play dual roles. There'southward a wealth of solid grapheme interim here in this motion-picture show -- Brian Blessed appears as a sexually violent muleteer, Ian Richardson plays a Padre (and the most enthusiastic volunteer for the play) and Gino Conforti is very funny equally the barber whose shaving basin is taken for a aureate helm of fable. I don't usually intendance all that much for Sophia Loren bluntly but I thought this was some of her best piece of work. She'due south got simply the right combination of peppery cynicism and svelte femininity to make the character Alonza/Dulcinea work. O'Toole is fine, although his singing vocalisation (or the one dubbed for him?) leaves something to exist desired. James Coco is a fleck underwhelming unfortunately every bit Sancho Panza. The role of Sancho Panza is the kind of thing that can really appear easy, and could be like shooting fish in a barrel to play in a casual or typical fatty-funny-human kind of fashion which is how Coco played it, but information technology really demands a sublime performer to bring out the interesting elements of the character. You think of someone like Zero Mostel but probably he wasn't bachelor.
Almost of the music from the testify is presented hither pretty much the same way it is on the album, and so it seems to be fairly true to the evidence as far equally I can tell. The idea of setting Don Quixote to music is wonderful and the play was a solid effort.
Arthur Hiller'due south management is as always upward to the level of his work just unremarkable in its own right.
All told, not a bad version of the Don Quixote story and non a bad vehicle for O'Toole and Loren. I'm non quite sure how this got its bad reputation. Perchance people just don't similar the play; I know my mom told me she doesn't like information technology but she besides doesn't like "Gigi" so I think she just dislikes anything with sympathetic pictures of prostitues. Maybe a lot of people feel that style, I don't know. There'south as well a sure attribute of this film that could seem anti-religious or anti-Cosmic, which is probably why the Padre character is then much more sympathetic here than he is in Cervantes' book if retention serves. But based on what I know of the original play, this is a solid adaption and I can't imagine anyone doing significantly more with it.
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long drab musical
Based on a Broadway musical, Miguel de Cervantes (Peter O'Toole) and his manservant Sancho Panza are imprisoned past the Spanish Inquisition for staging a play. The prisoners put him on trial and take his manuscript. He puts on a play as elderly senile Alonso Quijana who takes on the persona of the knight errant Don Quixote de la Mancha. He along with Sancho Panza as his squire go to accept adventures dueling with windmills and rescuing lady Dulcinea (Sophia Loren).
Hollywood is post-obit a long tradition of adapting Broadway shows and casting picture stars who can't actually sing and dance. The production was troubled from the start. The sets are drab. Everything is brown. It looks ugly fifty-fifty with the cute Sophia Loren in it. The songs are forgettable. The replacement singers are not necessarily the all-time. They had to cast somebody who could sound like Peter O'Toole if he could sing. Non much of information technology really works.
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I loved this film version of "Man of La Mancha"
tavm 28 Jan 2008
Having read many comments that were both positive and negative on this film adaptation of the beloved Broadway musical "Man of La Mancha", I was prepared for a not-very-enjoyable moving-picture show. I'thousand very glad to say that this was i of the most touching film musicals I've always seen. Seeing Peter O'Toole playing Miguel de Cervantes and then dressing upwardly as Don Quixote brought some of his most inspired eccentricities to come from this multi-talented role player. And the person who dubbed his singing about matched his voice perfectly. Sophia Loren plays both cynical and eventually a piddling sentimental perfectly equally Aldonza/Dulcinea. James Coco is sublimely and endearingly loyal as Sancho Panza. Both sang their parts well. I besides loved the numbers performed past Harry Andrews as the innkeeper and Carlo Conforti as the barber whose shaving basin is mistaken for a knight lid past Quixote. Manager Arthur Hiller does a nice transition from the prison to exterior locations in depicting when reality ends and imagination begins. What else tin I say except to anyone who hasn't bothered to see this and is confused by the mixed reactions here and elsewhere, I say requite this 1 a try! P.South. The vocal "The Impossible Dream" has a personal connexion with me because at 5 or 6 when I was being recorded on a blank cassette, the first thing I sang was this vocal accompanied by pianist Roger Williams from his Kapp album of the aforementioned proper name. We too had the original Broadway cast album of "Man of La Mancha" (also on the Kapp label) that starred Richard Kiley so it'southward probably because of hearing that frequently that I remembered the entire lyrics to the song! Likewise bad it got partly erased later on and I don't know if that tape even exists now.
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Knight Of The Woeful Eyebrow
Back when I was a teen I was fortunate plenty to see one of the 2328 productions of Man Of La Mancha in the original Broadway run. It ran from 1965 to 1971 which explains why information technology took so long to get in to the screen. Richard Kiley as Cervantes(Don Quixote) and Joan Diener as Dulcinea were magnificent, they could sing besides every bit act.
Sad that Kiley and Diener were never moving-picture show names considering it would accept been worth seeing them preserve their performances for future generations on motion-picture show. In the acting department no one could complain about Peter O'Toole or Sophia Loren. It is unfortunate that they couldn't bring equally good singing voices to the songs that Mitchell Leigh and Joe Darion wrote.
Don Quixote is the story of a man who chooses to retreat from reality and go into a globe that he thinks is better in the past. That's non a unique state of affairs to a trouble, some of united states of america who don't like the earth as we see it develop all kinds of mechanisms to cope. Wasn't that what Harvey was all about?
Jimmy Stewart had his giant rabbit and Peter O'Toole tilts at windmills, but the principle is the same. Y'all tin even see people not as they are, but their better natures similar Sophia Loren every bit the tavern serving wench and friend for the night if the price is right. Simply to O'Toole she'due south the lady Dulcinea.
In real life Cervantes never faced the Inquisition which was a religious court. He did spend some time in jail for irregularities in his accounts when he was a purchasing agent for the Armada. It certainly did requite him a perspective on prison and the people inside.
From the Broadway bandage Gino Conforti repeated his part as the traveling barber who has a shiny shaving basin that O'Toole thinks is a golden helmet of invincibility. It's a funny and very cute role that Conforti seems to take made his own.
Human Of La Mancha likewise had the misfortune to exist upwardly against another long running Broadway musical which made it to the big screen in 1972. That also required a singing/acting atomic number 82 and Cabaret got it with Liza Minnelli. Cabaret which won several Oscars that The Godfather didn't win that year sadly made Man Of La Mancha pale in comparison.
Allan Jones who had eschewed Hollywood years ago did summer stock productions of Man Of La Mancha for years. He would have been a perfect lead hither, but he was mode out of the Hollywood scene for likewise long.
In fact this version of Homo Of La Mancha is a practiced film, but won't ever qualify as one of the bang-up film adaptions of a Broadway musical.
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Lifeless and Dull
Some things only shouldn't exist filmed. I saw "Human of La Mancha" when it opened in 1965 at the ANTA Theater in New York. What fabricated the testify a hit was the inventive staging, in which the globe of Don Quixote was created out of the imagination, making the whole experience reasonably magical. Picture show-wise, it made sense to open the story up and show existent plains, horses, taverns and wenches, only at the aforementioned time at that place went the magic. It turns out that "Don Quixote" is not all that interesting, especially when told in such a plodding way and with such drab sets and costumes. When the knight of the woeful continence tilts at his first windmill and the intended humor falls flat, yous know you're in for a long, dull show. A 2d salient point of the stage musical was the semi-operatic score, full of Spanish-sounding music that rose above the pedestrian lyrics and gave the show what little passion it has. Casting people who can barely sing in the starring roles was unwise. Peter O'Toole seems to sing some parts merely is dubbed in others, and the effect is none too pleasing. Sophia Loren seems like obvious, perfect casting equally Dulcinea, and she is amazingly beautiful, just sings in a low, tense phonation that suggests nothing of inner fire. James Coco plays Sancho Panza in an awkward, sad and lifeless mode. Coco started out as a star in "The Last of the Crimson Hot Lovers," and and then his career sank equally information technology became increasingly clear that his acting talents were limited. Lots of talents were used to no good purpose here.
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nice
a overnice moving-picture show. that it is the purpose. and the virtue of a moving-picture show who remains seductive, far to be enemy to the Broadway versions. considering it advise the novel of Miguel Cervantes y Saavedra in accessible, colorful adaptation. because Peter O 'Toole does a swell job. and Sophia Loren is the same seductive, vulgar, sentimental Dulcineea who gives new nuances to the characters. brusque, a lovely version. the songs, dialogues, flavor of adventure and the last scenes are plenty for save the errors and the small mistakes. quondam fashion entertainment, Man of La Mancha is one of rare trips in the essence of a legend and pretext for charming performance of O 'Toole. and so, it is real hard to criticize information technology likewise hard. considering it remains prissy, spiritual, a kind of fire work for unabridged family. and, not the least, useful invitation to read the novel.
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POWERFUL Story ! five stars
This is one of my favorites movies, and although I am also a large fan of the play, this movie did no injustice to it whatsoever.. possibly it would just brand someone more motivated to see it performed LIVE on stage. Either fashion, it is very touching and something that imprints itself upon your heart.
I establish similarities between this film and Life is Beautiful, non merely the unconventional mentality of the leading characters, but the ability we have to positively touch others. If you enjoy L.I.B., this is a MUST Come across !!
From the dismal dungeon jail to to the imaginative world of Don Quixote, Peter O'Toole is outstanding every bit the chivalrous errant knight. His functioning is astonishing. James Coco provides comic relief and Sophia Loren is moving as Dulcinea. The gentleness Don Quixote shows Dulcinea is beautiful.
This touching story within a story embraces and captives yous every bit it takes you on a journey of valor, romance, suspense, deceit, comedy, and self examination. I would recommend experiencing at least once.
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We're missing the signal ...
Along with the plaudits and praise, MAN OF LA MANCHA is getting a lot of bad reviews here. The reason is clear.
If you wait at Whatever work written for the stage that was transformed into a film, you're going to see exactly the aforementioned sort of wildly divergent opinions listed.
IT'Due south Considering Nosotros'RE COMPARING APPLES AND ORANGES. TO THOSE WHO SAW A LIVE STAGE PERFORMANCE, NO CINEMATIC VERSION Will EVER COMPARE FAVORABLY! At the same fourth dimension... for those who never saw the work on stage, the film tin and WILL stand on it's own merits.
I'm of the generation that saw and emotionally connected with Pilus, and retrieve live performances well.
HAIR was interactive. In the opening number, "Aquarius", the bandage literally converged on the stage from all parts of the audience and theater.
During the start act, protesters in the audience (actually cast members) disrupted the menses of the performance and interacted.
In the closing number (FLESH FAILURES / LET THE SUNSHINE), the bandage literally returned to it'due south origin, leaving the phase and mixing in with the audience.
Over time, fifty-fifty the script itself evolved; periodically the worldwide casts received mimeographed sheets of changes to the script (sometimes, MAJOR changes to the story line).
How could a movie version of Pilus always promise to compare favorably with that? A film HAS to look inadequate by comparison, because we're looking at the strengths and weaknesses of the item MEDIA EMPLOYED, and not the productions themselves.
Past comparing... the motion-picture show version of HAIR looks pale and amateurish when placed beside the stage version. Merely in and of itself, the motion picture isn't a bad representation of the script.
Film versions of Broadway productions DO serve a valid and valuable purpose tho.
Not every kid grows up in an urban area like New York City. Millions of youngsters never accept the chance to nourish a live symphony concert, an opera, or a Broadway play.
A moving picture or video version of a play can expose them bully literature.
I once saw a classroom full of loftier school freshmen in the n woods of extreme northern Wisconsin who were absolutely captivated and fascinated past a videotaped production of Thornton Wilder's OUR TOWN. I've seen live stage productions of it many times, and the video struck me as non near on a par with any of them... just these kids hadn't. The nearest theatrical visitor was over 300 miles away, so it was all new and unique to them.
Maybe that videotape volition, onetime down the road, inspire them to actually attend a live operation.
MAN OF LA MANCHA has to be viewed in that same context. Take it for what information technology is... picture show making. Comparing with the Broadway stage is unfair and unproductive.
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A Travesty!
"Man Of La Mancha" is one of the greatest musicals of all fourth dimension, and considering of that it is and then unforutnate that the only way most people get to experience it is through this absolutely awful film version that in my opinion, ranks equally the worst motion-picture show adaptation of any Broadway show period. The alterations in the script were bad enough (in the musical, Cervantes is jailed for carrying out his duties every bit a tax collector by foreclosing on a church building. Hither they choose to make him a political agitator) only I could have lived with that. What I can not live with is the fact that anybody in this bandage sings and then bad! Peter O'Toole'southward dubbed vocals are merely then-so, defective the power of Richard Kiley's original. James Coco looks correct every bit Sancho, merely his low vocalization is totally wrong! (Sancho's singing is always high-pitched on stage) Harry Andrews proves he can't carry a melody in "Knight Of The Woeful Eyebrow" and as for Sophia Loren.....well if you admire her equally i of the greatest beauties of all time, do not come across this film or y'all volition have your favorite illusions of her shattered. Her singing is awful, and it forced them to drop one of the loveliest songs from the score, "What Does He Want Of Me?" (too missing is the Padre's lovely "To Each His Dulcinea"). If they wanted a big name for the part, Raquel Welch probably could have warbled a lot better than Sophia! This motion-picture show is and so awful that I can not bear to ever see it again. Try to pick up a copy of the audio cassette of the 1969 National Company of the musical which did the unabridged musical and songs like a radio drama. It more than recreates the theater experience in the correct ways.
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I Dearest It
Like the poster tamrath, I sign upwardly for defender of this film. No, it's not brilliant, merely visually it's a care for. I never saw the Broadway version, only I practise have the CD of the soundtrack. Vocalism-wise, Peter O'Toole (or whoever daubed him, if he was daubed) is no Richard Kiley. But his acting makes upward for that, as usual. And if in that location ever was an actor who most resembles the description of Quijote that Cervantes made I take yet to run across.
Equally for Sophia Loren, it'south true, she cannot sing. Or at to the lowest degree, not in the key she was made to sing in the film. Simply IMHO, she is scarcely worse than Joan Diener's shrill, metal, over-the-meridian, almost demented Broadway rendition, which never fails to grate on my nerves. And again, from the physical point of view, she is the embodiment f what I always thought Aldonza would wait like. Her acting is also excellent for Loren is e'er at her best when she portrays peasants and lower-class women.
James Coco's rendition of Sancho is interim-wise flawless, but from the standpoint of voice it elicits the same comparison as the Loren-Diener: later on Irving Jacobson'southward loftier-pitched rendition, Coco's sounds sort of lusterless.
The residuum of the cast is OK. Ian Richardson gives us a terrific cynical/ironic/pious Padre, a bit on the lines of his House of Cards Urquhart.
So once more, the motion picture is not brilliant. But until a better version comes along (and I rather doubt it, given the "revised" politically correct-sanctioned trash that the entertainment industry has fabricated a habit of inflicting on us) I very happily settle for this.
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