Word: ferrers
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Dates: during 1950-1959
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...Moroccan's daughter, as the kaid (Cornel Wilde) pounds at her portal. The kaid commands. Saadia fearfully slides back the bolt. In rushes the desert chieftain. Has he come to print a searing kiss upon her lips? No, he has merely brought the local French medic (Mel Ferrer), who says that Saadia has acute appendicitis, and proceeds to cut her open...
...resolute but compassionate worldliness does touch Ondine with glints and flecks of gold. There are, too, bright-colored court scenes in which a magician conjures up events to come; there is a high-mannered court practicing the flatteries and-deceits that Ondine cries out against; in Mel Ferrer, there is a handsome knight for her to love; in Marian Seldes, a finely haughty rival whose hopes she dashes...
...understand the screenwriters' efforts to scrape the tarnish from poor Launcelot's soul. And it is clear that they had to pare down the number of characters wandering through the story to keep within the limits of the CinemaScope screen. But when only a lean-faced Mel Ferrer, a sullen Ava Gardner, and a Frank Merriwellish Robert Taylor remain, disappointment tends to creep in. All that keeps the audience from leaving their seats are the colorful sword-swinging battle scenes between regiments of Round Table rivals and the single-handed heroics of Robert Taylor's Launcelot...
...insipidly metaphorical. Taylor and Ava Gardner, who plays Guinevere, struggle gamely, but neither can reduce the heaviness of the material. Late in the film Queen Guinevere is sent to a nunnery. Miss Gardner shifts through this role with the same dexterity we would expect from Lily St. Cyr. Mel Ferrer, as King Arthur, spends the greater part of the film looking wide-eyed at people and ornaments about the palace. He is so obsequious one cannot help but wonder how he put over this Round Table idea in the first place. So far, Hollywood has proven that it can produce...
Ondine, though, is not a monologue, and Miss Hepburn's co-star, Mcl Ferrer is also quite good. At first a bit wooden and seemingly nervous, he becomes more involved in his part by the second act, and dominates the third. In deliberate contrast to Ondine's flighty movement, Ferrer's Hans-the knight-is static. Unfortunately he carries his set posture over into scenes in which he could, in the absence of Miss Hepburn, lend force to the action...