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James Goldman won an Oscar® for the brilliant screenplay, based on his Broadway play. It is a tad wordy, as the action is kept to a minimum, but those words are sharp as daggers. The humor is wicked and black and delivered with very dry, dead-on precision. Sparks fly and the screen sizzles whenever Hepburn and O'Toole tango, which is often. Both were nominated for Academy Awards® for their vigorous performances. (She won; he didn't.) There's also an infamous homo-erotic exchange between Philip of France (Timothy Dalton) and Richard the Lionhearted (Anthony Hopkins). Both actors were making their feature-film debuts. --Rochelle O'Gorman
In this movie you have all of the themes of familial dysfunction: the vitriol and wistfulness of an estranged couple, the frustrations of the "model" eldest child, the resentment of the neglected middle child, the eccentricities of the overindulged youngest child, a May-December affair triggered by a mid-life crisis, holiday depression, and it goes on and on. This movie is so adept at exploring these topics that it makes "American Beauty" (a good film in its own right) seem almost sophomoric.
What makes this movie stand out is the writing. There is no other movie this side of "The Godfather" that has contained such enjoyable dialogue and character development. The dialogue in this movie is outstanding ("It's not the power I feel deprived of, it's the mention that I miss"; "Give me a little peace/A little? Why so modest? How about eternal peace? Now there's a thought.")
I doubt there will ever be another movie that will be so skillful in weaving together historical material, political intrigue, and slice-of-life issues into so seamlessly. This is one of my 10 favorite movies. Please rent it, and if you can find it, buy it.