4:00 a.m. (ET)/1:00 a.m. (PT) IVANHOE (1952) In the early 1950s, Hollywood was in a most interesting quandary. Television was rapidly becoming a popular source of entertainment in the country and was 'public enemy number one' to the film industry. Movie attendance began a steady and rapid decline forcing many Hollywood executives to find ways to compete with the popularity of the small screen. One executive, Dore Schary (who was head of MGM Production at the time) came up with one solution - make the big screen even bigger. With a large budget, lavish set pieces, period costumes, top stars, and the advent of Cinemascope, Schary struck gold in 1951 with Quo Vadis?, the top grossing film of that year (raking in over $11.9 million, a phenomenal sum in its day). Schary wasted no time in preparing for his next spectacle. He decided to do a film adaptation of Sir Walter Scott's historical adventure Ivanhoe - a fanciful tale of knights, swordplay, chivalry and kingdoms. The story begins with the kidnapping of King Richard the Lionhearted. Ivanhoe, (Robert Taylor, whose stoic embodiment of virile integrity redefined his image for the rest of his career), a Saxon knight who fought for King Richard in the Crusades, makes an effort to raise the ransom to free his King. Isaac of York (Sir Felix Aylmer), and his daughter Rebecca (Elizabeth Taylor) help Ivanhoe raise the ransom. They are taken prisoner by De Bois-Guilbert (George Sanders), leader of the Normans. Although deeply in love with Rebecca, De Bois-Guilbert takes her to John, who sentences her to the stake as a witch. Ivanhoe steps forward to fight for her freedom and wins just as King Richard returns to reclaim the throne. To pull off such a grand story MGM needed to perfect the ambience and detail of medieval England, which on the surface was no easy task. First, and most importantly, was the budget, which the studios could cover based on the millions of dollars they had accumulated in British banks during the war but were restricted from taking out of the country. The studio had to spend their money in England, and they invested a majority of it in Ivanhoe. So extravagant were the expenditures that when a suitable castle was not found, MGM built one especially for the film and allowed it to age for almost a year before any scenes were shot! To top that, an average day's shooting for some of the more elaborate sequences like the Ashby Tournament called for the presence of all the principal actors plus 12 trumpeters, 15 Norman and 15 Saxon squires, 25 special foresters, 135 ordinary foresters, 160 members of a rough Saxon crowd, 120 Normans, 60 horses, a truckload of arrows and 6 cows! Even more interesting was how MGM worked around the strict British labor laws (it specifically denied visas for American actors in British films unless strong reasons could be presented) for importing Hollywood talent. Three of the film's four stars (Liz Taylor, Joan Fontaine and George Sanders) were British born, making work visas for them easily attainable and Schary had no qualms while he was there to utilize some of the finest British actors of the day such as Emlyn Williams, Finlay Currie, Sebastien Cabot and Sir Felix Aylmer to add authenticity and grandeur. The technicians recruited for Ivanhoe were amongst the best in their field: cinematographer Freddie Young, who would later find fame and Oscar¨ recognition for his collaborations with David Lean (Lawrence of Arabia, 1962); Alfred Junge chosen as art director for his work with Michael Powell and Emeric Pressburger on Black Narcissus (1947); and composer Miklos Rozsa, well respected for his symphonic works in Oscar¨-winning films like Spellbound (1945) and A Double Life (1947). Finally, one cannot undervalue the direction of Richard Thorpe. Indeed, it's a testament to his skill as a director, that despite all the professional sheen and polish in every technical aspect of this movie, he never lets the majestic pageantry overwhelm the general excitement of the story, for he keeps the film moving at a consistent pace that is brisk, vigorous and sweeping. It all proved to be money, time and creative energy well spent. Released in the summer of 1952, Ivanhoe was MGM's highest grossing film for the year and one of the top four moneymakers of 1952, grossing over $6.2 million. It also earned three Academy Award¨ Nominations for Best Picture, Best Score and Best Cinematography. Yet, most importantly, Ivanhoe possesses a timeless popularity that makes the film as entertaining today as it was when it was released nearly 50 years ago. Director: Richard Thorpe Producer: Pandro S. Berman Screenplay: Marguerite Roberts, Noel Langley, based on the novel by Sir Walter Scott Cinematography: F.A. Young Editor: Frank Clarke Art Direction: Alfred Junge Music: Miklos Rozsa Cast: Robert Taylor (Ivanhoe), Elizabeth Taylor (Rebecca), Joan Fontaine (Lady Rowena), George Sanders (Sir Brian De Bois-Guilbert), Emlyn Williams (Wamba) C-107m. Close captioning. By Michael Toole 10:00 p.m. (ET)/7:00 p.m. (PT) KNIGHTS OF THE ROUND TABLE (1953) For their entrance into the rectangular CinemaScope arena, MGM shrewdly bowed to their British arm for Knights of the Round Table, a rousing 1954 re-telling of the Camelot saga. Pulling out all the stops, MGM created a Technicolor extravaganza that was intended to surpass The Robe (1953), Twentieth-Century-Fox's religious spectacle and the first Cinemascope production, a film which was still breaking world box office records when Knights went into production. Re-teaming the chemistry-friendly Robert Taylor and Ava Gardner (ideal as Lancelot and Guinivere), who had formerly co-starred in The Bribe (1949), Ivanhoe (1952) and Ride, Vaquero! (1953), and, who had once had a brief albeit volcanic affair, was a calculated move that had exhibitors bidding for play dates sight unseen. Indeed, Taylor had an unusually chameleon-like career - a true testament to his 25-year reign as a movie star. The typical all-American boy in the 1930s, he re-invented himself as a dark seductive villain in the post-War 1940s. Playing a Roman-turned-Christian in 1951's Quo Vadis? transformed the veteran leading man into a sort of Mr. Ancient World - going on to unlikely, but nonetheless successful turns in the aforementioned Ivanhoe, 1955's Quentin Durward and this mammoth medieval extravaganza. Knights of the Round Table was filmed at the Boreham Wood back lot of MGM's British studios and used the same castle built for the Ivanhoe set. Despite authentic locales, the production was a troubled one. The cold, drizzly weather hampered shooting and a strike of extras forced director Richard Thorpe to travel to Ireland to shoot a particular battle scene. But the problem with extras continued as the Irish recruits refused to wear the heavy armor required for the scene unless they were paid a bonus. When the British Association of Motion Picture Producers heard about the Irish extras, they refused to allow the film's producers to use them at all. As a solution, Thorpe approached the Eire government, which allowed the director to use their soldiers as extras in the battle scene. The Guinness heiress also allowed the use of her estate for some location shooting. Second unit man Yakima Canutt was entrusted with directing 100 trained stunt riders and the caterers had their work cut out for them with a total of 3000 production people to feed every day. It was not unusual for their shopping list to include requests for 975 pork chops, 300 pounds of potatoes, or 400 gallons of coffee and tea. Among the cast members, Ava Gardner was probably the least pleased with her role in Knights of the Round Table. She later commented, "What was I doing in that costume epic, for heaven's sake?" Not only did the actress dislike the dreary weather, but as a self-confessed night owl, she hated getting up at 5 a.m. in the morning to put on complicated costumes and heavy makeup. She was also bored by the lack of nightlife in the small English villages where they were staying, and matters weren't helped when her husband at the time, Frank Sinatra, would show up on the set. They were going through a difficult time in their marriage and often engaged in terrible marital spats. But, there was one consolation for Gardner. She was now a bona fide star at MGM and, with a new contract, was able to command $17,300 a week for 50 weeks a year with a two-picture minimum. Director: Richard Thorpe Producer: Pandro S. Berman Screenplay: Talbot Jennings, Jan Lustig, Noel Langley, based on the novel Le Morte D'Arthur by Thomas Malory Cinematography: Stephen Dade, F.A. Young Editor: Frank Clarke Art Direction: Alfred Junge, Hans Peters Music: Miklos Rosza Cast: Robert Taylor (Sir Lancelot), Ava Gardner (Queen Guinevere), Mel Ferrer (King Arthur), Anne Crawford (Morgan Le Fay), Stanley Baker (Modred), Felix Aylmer (Merlin) C-116m. Letterboxed. Closed captioning. By Mel Neuhaus & Jeff Stafford 12:00 a.m. (ET)/9:00 p.m. BEAU BRUMMELL (1954) This tale of the 18th century British dandy who rose to prominence on a sea of gambling winnings and bad debts, then fell as quickly when he angered the Prince of Wales, had been a hit on stage for Richard Mansfield. As a silent film, it had given John Barrymore one of his greatest successes - and a torrid affair with leading-lady Mary Astor. There was no hanky panky on the set of MGM's lavish 1954 remake, but it proved a lucky charm for leading man Stewart Granger. Ironically, though he had been eager to do the film at first, he tried to get out of it when he discovered that it was to be shot at MGM's British studio in Denham, to use up MGM assets frozen by the British government after World War II. Granger's wife, actress Jean Simmons, was assigned to a Hollywood-lensed epic, The Egyptian (1954) at the same time, and Granger didn't want to be separated from her. When the studio refused to let him out of the picture, at least the British star could console himself with the chance to see his family back home. Co-star Elizabeth Taylor hadn't wanted to go overseas either, for much the same reasons. She was married to British actor Michael Wilding at the time, but his Hollywood commitments made it impossible for him to spend the entire shoot with her. As a consolation, the studio paid for them to take a six-week European holiday before shooting, even advancing her the money to add to her already growing jewelry collection. Neither was too crazy about director Curtis Bernhardt, either. The German-born helmer was too much the martinet for them. When his instructions to Taylor got too lengthy, she would yawn in his face. And when he started swinging a large stick around to assert his authority on the set, Granger took it from him and broke it. Yet Bernhardt brought a powerful visual sense to the film, using long takes in CinemaScope to give the picture a graceful quality. And the location shoot gave them the chance to shoot interiors at Ockwell Manor, a 15th-century mansion near Windsor Castle that helped make Beau Brummell a feast for the eyes. Shooting in England also gave the film a strong supporting cast that included future stage star Rosemary Harris (The Lion in Winter, 1968) and, as King George III and his son, the Prince of Wales, Robert Morley and Peter Ustinov. Morley's memorable performance as the mad George III would create some controversy when the film was chosen as the royal family's command performance for the year. Years later, however, the king's madness would be explored more fully in the much-praised The Madness of King George (1994), starring Nigel Hawthorne as the king and Rupert Everett as his son. Director: Curtis Bernhardt Producer: Sam Zimbalist Screenplay: Karl Tunberg From the play by Clyde Fitch Cinematography: Oswald Morris Art Direction: Alfred Junge Music: Richard Addinsell Principle Cast: Stewart Granger (Beau Brummell), Elizabeth Taylor (Lady Patricia), Peter Ustinov (Prince of Wales), Robert Morley (King George III), James Donald (Lord Edwin Mercer), Rosemary Harris (Mrs. Fitzherbert) C-112m. By Frank Miller 2:00 a.m. (ET)/11:00 p.m. (PT) QUENTIN DURWARD (1955) Quentin Durward (1955) took actor Robert Taylor to MGM's British studios for the fifth time. For over 30 years he remained one of MGM's leading principal players, starring opposite some of the screen's most glamorous leading ladies. Quentin Durward brought Taylor's London score to four hits out of five and gave him an exceptionally striking heroine in Kay Kendall. Filmed on location in English and French countryside castles, the story is set in 15th-century France. Quentin Durward (Robert Taylor) is a poor but noble Scot in the service of his uncle who plans to wed Isabelle, Countess of Marcroy (Kay Kendall). When Durward is sent to France to inspect his uncle's prospective bride, the Countess slips away from her protector, the Duke of Burgundy (Alec Clunes), who has arranged the match. Finding brief refuge with King Louis XI (Robert Morley), Isabelle is forced to flee again when she learns the crafty Louis is plotting against her with a renegade count. Naturally, the dashing Durward foils the plot and falls in love as a consequence. But can a romance fit into the politics of imperialism? The supporting cast is wonderful with Robert Morley a standout in his role. The film also highlights the beauty of Kay Kendall, who was to die much too young (three years after the film was made). Robert Taylor made eight films with director Richard Thorpe, four prior to Quentin Durward including, The Crowd Roars (1938), Ivanhoe (1952), All the Brothers Were Valiant (1953) and Knights of the Round Table (1953). Thorpe, by now an old hand at costume films, directs for maximum action and throws in a dash of humor. Director: Richard Thorpe Producer: Pandro S. Berman Screenplay: Robert Ardrey, George Froeschel (based on the novel by Sir Walter Scott) Cinematography: Christopher Challis Editor: Ernest Walter Music: Bronislau Kaper Art Design: Alfred Junge Costume Design: Elizabeth Haffenden Cast: Robert Taylor (Quentin Durward), Kay Kendall (Isabelle, Countess of Marcroy), Robert Morley (King Louis XI), George Cole (Hayraddin), Alec Clunes (Charles, Duke of Burgundy), Duncan Lamont (Count William de la Marck) C-112m. By Celia Reilly 4:00 a.m. (ET)/1:00 a.m. (PT) THE BARRETTS OF WIMPOLE STREET (1957) For its remake of The Barretts of Wimpole Street (1957), starring Jennifer Jones and John Gielgud as Elizabeth Barrett and Edward Moulton-Barrett, MGM went all out to top its classic 1934 version, in which Norma Shearer and Charles Laughton played the embattled daughter and father. Both films were based on the play by Rudolph Besier. Producer Sam Zimbalist determined that, for added authenticity, the remake would be filmed out of MGM's British studios, peopling the cast with fine English actors and using actual locations whenever possible. The film attracted a flurry of publicity in London. Jones dedicated a plaque at 50 Wimpole Street (although the original Barrett residence no longer existed), and a figure of the actress as Barrett was unveiled at Madame Tussaud's Wax Museum. Bill Travers was cast as Elizabeth's romantic suitor, Robert Browning - the role taken by Fredric March in the earlier film. Virginia McKenna, Travers' real-life wife, had a supporting role. The director of the original, Sidney Franklin, now 63, was called in for a repeat performance. For Jones, playing the role of Barrett on film was the realization of a long-standing dream from her days as a drama student, when she had persuaded husband-to-be Robert Walker to play Robert Browning to her Elizabeth in a scene from Besier's play for their audition for readmission to a dramatic academy. (Her idea worked, and both were invited back.) Jones' most glowing review for her film version of The Barretts of Wimpole Street came from The Hollywood Reporter: "The performance must be muted through much of the story, and the character can be shown only gradually emerging from the icy chrysalis her illness and her father have put her in. Finally she must show - without shocking us too much - that she realizes her father's protective love is potentially incestuous and her only hope is to risk her life and flee with the man she loves. Miss Jones does all this with great warmth and skill. Her supreme achievement is the conviction that she is a person capable of having conceived Elizabeth Barrett's piercing sonnets." Producer: Sam Zimbalist Director: Sidney Franklin Screenplay: John Dighton, from play by Rudolph Besier Art Direction: Alfred Junge Cinematography: Freddie Young Costume Design: Elizabeth Haffenden Editing: Frank Clark Original Music: Bronislau Kaper Principal Cast: Jennifer Jones (Elizabeth Barrett), John Gielgud (Edward Moulton-Barrett), Bill Travers (Robert Browning), Virginia McKenna (Henrietta), Susan Stephen (Bella), Vernon Gray (Captain Surtees Cook) C-106m. Letterboxed. Closed captioning. By Roger Fristoe