Camelot on Camera: The Arthurian Legends and Children’s Film

Abstract

The Arthurian legends have had a deep and pervasive influence on popular culture, especially film. As Kevin J. Harty, who has written extensively and incisively about Arthurian cinema, observed, “since 1904 the major names in the film industry both before and behind the camera have been associated with Arthurian film.”1 Parsifal (1904), for example, an attempt to capitalize upon the successful New York production of Wagner’s opera at the Metropolitan Opera House in New York in late December, 1903, was the earliest American Arthurian film and the most ambitious and costly film Edwin S. Porter made while working for the Thomas A. Edison Company. Unusual for its length as well as for its elaborate sets and trick photography (action shot from the audience’s point of view and exaggerated acting to suggest that the actors are actually singing), Parsifal had to be withdrawn from circulation because of copyright problems.2 Other Arthurian silent films followed, including Launcelot and Elaine (Vitagraph, 1909; dir. Charles Kent), based on Tennyson’s poem from the Idylls of the King and hailed for its artistry in blending action with narration and for innovative cinematic techniques that included shots inside a dark cave and close-ups of the tournament in which Launcelot fights to win the queen’s favor,3 and The Lady of Shalott (Vitagraph, 1915; dir. C. Jay Williams), which also drew on Tennyson’s poetry for inspiration, although for more comedic purposes.4