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(More customer reviews)Three hours is not enough for a film adaptation to do justice to a book that is the size and length of a textbook.
The book is massively rich with characters that are diverse and colorful. I'm sure fans of the book will agree with that. The problem with the movie is that if the goal of the movie is to please fans of the book, the series must run for more than 183 minutes.
I was very happy with the adaptation's attention to detail of physical appearances when it came to casting. Morgaine and Viviane are alike in appearance with their faery-like features and dark hair, Igranne and Morgause are the redhead beauties, and Gwenhywfar is the dulcet blonde. The actresses, to say the least, were stunning and dominated the performances, as it should have been, since Mists of Avalon is a retelling through the female perspective.
The movie goes into great length to remain faithful to Morgaine's childhood, up till her reunion with Arthur in Camelot after he is crowned High King. That is where the chopping begins. Bits from the story are cut, then large portions. By the end, it seems altogether rushed. Morgaine goes straight from Wales after Urien's death to the demise of Camelot. There is no Nimue, no Kevin, and she doesn't even assume the position of Lady of the Lake. Sadly, the movie overlooks pretty much the entire last half of the book, which is vital to Morgaine's growth.
In the book, we see Morgaine as a precocious youth filled with much knowledge but lacking in wisdom, as is appropriate for her age. We see she brings about much of her own suffering. She despises Viviane for her wrongdoings, but after ascending to the throne of Avalon, Morgaine does very much the same as her predecessor. Morgaine and Viviane's downfall is their pride and their tragedy is that they did the best they could at the time. The beauty of the story is the overall message, that what we do as individuals affect everybody, and repercussions are felt throughout ones lifetime, and growing and maturing involves sorrow and regret. This beauty is not achieved nor attempted to be portrayed, not even remotely close, in the movie.
What I liked about the book's ending is that Marion Zimmer Bradley didn't leave a feeling of emptiness. Although everybody around her had moved on or died, Morgaine was still of Avalon. After time, Morgaine became synonymous with Avalon. In the movie, however, Avalon has fully retreated into the mist and was cut off, even from Morgaine. The conclusion of the film left a feeling of emptiness and hallowness.
In short, the movie does little to cover the actual growth of the protagonist. You see her grow from child to maiden, but little is shown to help us shift our view of her from maiden to woman. Nothing is portrayed to propel her growth further to the elder wise woman she ultimately became in the novel. Relationships are carried all throughout the novel, and when the story is cropped, much is missing that helps not only Morgaine, but all the characters grow. Like I said, 183 minutes was just not enough to faithfully portray Morgaine's life and the relationships between characters.
There is little negative emotion in the movie aside from Gwenhwyfar's disdain for the old religion and for Morgaine. Morgaine's indignant pride and her jealousy for Gwenhwyfar (and vice versa) aren't shown much at all. Morgaine's only real negative reaction in this film is her fury towards Viviane. Morgaine is stubborn because of her pride and sometimes, jealousy, but without those emotions portrayed to explain her behavior, she comes off sometimes as a comatose pawn, as she often did in the movie (although it was no fault of the actress- Julianna Margulies was superb- but the script).
I was touched by some scenes in the movie- the parting of young Arthur and Morgaine, Morgaine's reunion with her mother in the river, and Viviane's death. The first half of the movie was nicely done, and the rest was so-so.
I think in this case, time constraints did the movie in. Without the additional plot, Morgaine comes off as meek because she observed more than she spoke, and without the story intact you don't get to see what she's done with what she's observed. Morgaine is portrayed as a complete and utter victim of circumstance, when in fact she played people around, as well. There was plenty of court schemes and manipulation rampant in the novel, yet the movie only fully captures the mysticism of the old faith and the religious conflict. Whereas the story consists of characters who fight for a higher cause and for selfish causes, the movie fails to depict the latter.
However, if you're like me and you love period films in part because of costumes and scenery, I'd recommend picking this up. Costumes are beautiful, the music is lovely and very befitting, and if you enjoy Celtic mysticism, you'll like this. If you've also never read the novel but are interested in seeing the King Arthur legend retold through a female perspective, give this movie a go. It might interest you in picking up the novel after you've finished watching it.
All in all, The Mists of Avalon film adaptation gets 3 stars. 2 for content and 1 for imagery. I was left dissatisfied after viewing it, but not wholly disappointed. It would have been lovely if another 2 hours were given to it to more fully explore the richness and cover the growth of the characters. Despite the flaws, I bought the DVD even after seeing it on TNT. Imagery was this movie's strong point, and I still pop the DVD into the player from time to time to look at costumes and scenery. It's quite fun to watch one of your favorite books come to life in such a fantastic way (as far as imagery goes). Regardless of plot, it's still a feast for the eyes.
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The Mists of Avalon (2001)The King is dead, long live the King, but who will it be? The answer is found on the battlefields and in the mystical and powerful manipulations of fate emanating from the women of the legendary isle of Avalon in this intrigue-filled retelling of the King Arthur/Camelot legend. Starring Julianna Margulies, Anjelica Huston, Joan Allen, Caroline Goodall, Edward Atterton, and Samantha Mathis.
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