Nice effects though.

A lot more amusing than I thought it would be.

It's an amazing and heartbreaking story.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Guy Stockwell nailed the Norman knight characterization, and should have won nominations for it. Eleventh-century knighthood was not of the 'shining armor' sort. They were extra sons, trained for war but with plenty to do between battles. Basically, they were aristocratic bikers, arrogant and exceptional, often despoiling the countryside. Draco as an 'I want it now' bully perfectly captures this mentality. His character reflects that of an actual younger brother who really screwed up things. In 1066 Tosti Godwinson convinced the King of Norway, a 7' Viking, to attack England. He did and lost to King Harold, but Harold then lost to the Normans exemplified by Draco far more than Crysagon.

its poetry is the basic virtue. and the fact who gives to it a special individuality among the films of period from the same genre. first, for the love story, ambiguous , strange, not real fair. for the relation between brothers. for the shadow of the past. and, sure, for a hero far to be perfect. not the last, for Charlton Heston. many motifs for bitter critics in this case. not the convincing acting and a confuse story. but it remains a classic. maybe for the poetry of a story defined by clash between cultures, the sin of a brave hero, a love story who is different by the classic recipes. short, a classic.

Truly, this film was masterfully done in all of its aspects. As many others have remarked it's quite odd that this film is so underrated and unknown. It's easily Heston's best work, and Schaffner's too. The direction, acting, cinematography, and music all come together virtually flawlessly. For any aspiring film students take note, this is a master class in how a great film is made. It really shows just how powerful a film cam be when done right, and how so many of them are done so woefully bad by comparison.I love this film for the respect that Schaffner accords the viewer with. His sense of visuals are unparalleled, as directors go. The best scenes in the film are conveyed wholly without words or gesticulation, just pointed looks. It's amazing just how much a look can convey. My favorite scene in the film is where the old woman brings Heston and Forsyth food. He steps out of the room and the old woman into it. We then see closeups of Heston and Boone exchanging looks. Then to the old woman and Forsyth exchanging looks. Four people speaking volumes and not a word being said. Brilliant! This is a deliberate film, both intelligent and thoughtful, treating the viewer as such. I re-watch it once a year at least. I always find it best viewed in the late fall/early winter on a Saturday night, or a blustery Sunday. Usually as part of a marathon with such classics as 'The Lion in Winter', 'Beckett', and 'A Man for All Seasons'. This one however, this one is the real gem and the one I always look forward to most.

A very detailed battle scene, a devastating passion, both depicted in a believable way. Amongst these, however, a repetitive confrontation among brothers, stereotyped characters and moral tenets (more pertaining to 1965 than to Middle Ages, I fear) which fatally influence the ending.Actors are outstanding: real stars. Charlton Heston fills the screen and makes all his scenes memorable. Rosemary Forsyth is such a beauty that it is not hard to believe that men could have fought for her. I wonder if you noticed: in movies from those years, girls are often incredibly attractive.