Product Details

• Amazon Sales Rank: #87339 in DVD
• Released on: 2001-05-15
• Aspect ratio: 2.35:1
• Formats: Colour, DVD-Video, NTSC
• Original language: English
• Number of discs: 1
• Running time: 121 minutes

Customer Reviews

An American classic and Charlton Heston's best
A really fine and resonant film. Brilliant historical detail and great acting by Heston, Guy Stockwell and Richard Boone. Rosemary Forsyth is lovely and plays a rather undeveloped part well. Set design, costume and action scenes are first class, script is a bit heavy-handed but a tremendously entertaining and rewarding film.

Droit de Seigneur
Why this film has not been available on Region 2 DVD is beyond me. I have seen it screened a couple of times on TV (and now have a recording) and have thoroughly enjoyed it.
I agree with other reviewers that it is not the greatest of Heston's film outings. Rosemary Forsyth does lack sufficient bewitching charisma - though she doesn't have a lot of competition. Yet much of the characterisation is convincing enough, especially Guy Stockwell's "Draco".
It also managed to recreate the basically squalid life-style of even the
privileged at that time, and also captured the essential characteristics of the Feudal System by which their lives were governed.
Also the armour and weapons used seemed to be fairly accurate for knights of the late-11th/ early 12th century.

"I took that sword. I've lived twenty years with that cold wife."
A flop on its initial release and rarely revived since, The War Lord is one of the most interesting Sixties historical pictures. Dealing with the doomed love affair of a Norman knight and one of his vassals, Charlton Heston spent several years trying to get the picture into production (even approaching such unlikely potential directors as David Lean, Laurence Olivier, Carol Reed and Peter Ustinov) only to see it hacked down to two hours from final choice Franklin J. Schaffner's 171-minute rough cut to make it more of an action picture and highlight the siege finale.

There are obvious holes in the narrative, which may or may not be due to the cutting: it is never made clear why the dwarf turns against Chrysagon, while Rosemary Forsyth disappears for much of the last third of the picture while the battles rage. Budgetary limitations also make themselves felt in the unconvincing back projection. Similarly, while he maintains an imposing physical presence, Richard Boone gives the impression of having walked onto the wrong set by mistake every time he opens his mouth, but the rest of the cast fit their roles well, although the clash of accents makes itself felt on more than one occasion (Niall MacGinnis' Shire tones are wildly at odds with 'son' James Farentino's American, but thankfully no-one attempts a French accent). Yet these can forgiven in light of many of the film's achievements.

Although by no means at his best, Heston gradually impresses as the pauper knight who loses what he has fought his whole life to regain, ending his family line in the process over the only thing he has ever wanted for himself. Heston is well countered by Guy Stockwell, who mostly manages to prevent his role as his discontented brother spill over into cardboard villainy, while Joe Canutt's action scenes are well-staged.

Jerome Moross' superb, vividly romantic score is one of the best of the Sixties and the visual design of the film is particularly impressive and intriguing. Not only do his Scope compositions make the most of the Norman arches of the castle keep to contain the drama, but Schaffner imaginatively separates the lovers by foreground obstacles - a tree, a beam -in the early scenes, while in a later scene, as the war lord foregoes duty for love Heston is reduced to a silhouette, a shadow of his former authority and nobless oblige, while Forsyth remains perfectly lit.

The DVD transfer is not entirely satisfying but acceptable, though the only extra is the rather confused theatrical trailer that only highlights Universal's indecision over how to sell it, or indeed on what they were selling - even Heston's narration of it is uncertain of what kind of picture he's pitching.

While a full restoration is at best unlikely, with its for the most part successful attempt to recreate a past world largely ignored by Hollywood (though one of the film's central plot devices was reused in Braveheart) the film retains an uncommon flavour and texture of its own that separates it from its contemporaries. It may not be the masterpiece it wants to be, but The War Lord is an admirable and unique piece of work.