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The Lion in Winter

The Lion in Winter

Drama · History · 1968

Christmas 1183, Angevin Empire: King Henry II plans to announce his successor to the throne. Jockeying for the crown, though, is complex. Henry has three sons and wants his boy Prince John to take over. Henry's wife, Queen Eleanor, believes their son Prince Richard should be king. As family and various schemers gather for the holiday, each tries to make the indecisive king choose their option.

Movie details

The Lion in Winter

“What family doesn't have its ups and downs?”

1968 Drama · History 2h 14m

Critical arithmetic

One number, for now.

TMDB

7.4 / 10

Community rating

Christmas 1183, Angevin Empire: King Henry II plans to announce his successor to the throne. Jockeying for the crown, though, is complex. Henry has three sons and wants his boy Prince John to take over. Henry's wife, Queen Eleanor, believes their son Prince Richard should be king. As family and various schemers gather for the holiday, each tries to make the indecisive king choose their option.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Lion in Winter?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Anthony Harvey

Written by

James Goldman

Peter O'Toole

Peter O'Toole

Henry II

Katharine Hepburn

Katharine Hepburn

Eleanor of Aquitaine

Anthony Hopkins

Anthony Hopkins

Richard

John Castle

John Castle

Geoffrey

Nigel Terry

Nigel Terry

John

Timothy Dalton

Timothy Dalton

Philip II

Jane Merrow

Jane Merrow

Alais

Court is in session

Put The Lion in Winter on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.