On the sumptuous face of it, Camelot qualifies as one of Hollywood’s alltime great screen musicals. While most big musicals have fine production, dazzling costumes and all that, what gives Camelot special value is a central dramatic conflict that throbs with human anguish and compassion.
Camelot never need resort to the more obvious kind of added action. The focus is kept on the three mentally-tortured people, the cuckolded king, the cheating queen, the confused knight.
All of this is against the often exquisite sets and costumes of John Truscott, the creative use of research that is constantly visible. The fine camera work of Richard H. Kline, the clever screenplay by Alan Jay Lerner, the singular appropriateness to time and place of the Frederick Loewe score as lovingly managed by Alfred Newman are all major contributions.
Joshua Logan rates extraordinary tribute for the performances he elicits from Richard Harris as King Arthur, Vanessa Redgrave as Guinevere, and Franco Nero as the knight whose idealism succumbs to passion.
1967: Best Art Direction, Adapted Scoring, Costume Design.
Nominations: Best Cinematography, Sound