Sean Connery Movies

1995 had already seen the box-office success of sword-wielding heroes in Rob Roy and Braveheart when along came this glossy revision of the Arthurian legend, in which Lady Guinevere (Julia Ormond) is torn between her love for the noble King Arthur (Sean Connery) and the passionate knight Sir Lancelot (Richard Gere). As the story opens, Guinevere’s lands are under attack by the evil knight Malagant (Ben Cross), and she must choose between marriage to Arthur and the security of Camelot, or encouraging the affections of Lancelot, who has heroically rescued her from a potentially lethal attack. Anyone looking for meticulous medieval authenticity won’t find it here, but director Jerry Zucker (Ghost) keeps the action moving with exuberant spirit and glorious production values. Even if you don’t completely believe Richard Gere as a somewhat too-contemporary Lancelot, the performances of Ormond and especially Connery are effortlessly appealing. –Jeff Shannon

The Hill (1965) was made by Sidney Lumet in that period when his name was synonymous with powerhouse drama guaranteed to leave audiences wrung out and limp (Fail-Safe, The Pawnbroker). Still, there was a bigger name involved: Sean Connery breaking with his James Bond image to portray a volcanically outraged inmate at a British Army prison camp in Libya. The titular Hill is a steep mound erected on the desert floor for him and other British soldiers who have violated the (often absurd) rules of the military game to buck sacks of sand up one side and down the other, like so many sons of Sisyphus. Ian Hendry is unforgettably loathsome as the sadistic noncom Williams; other captors include Harry Andrews, Ian Bannen, and Michael Redgrave, while Connery’s fellow prisoners are played by Ossie Davis, Roy Kinnear, Jack Watson, and Alfred Lynch. In Oswald Morris’s black-and-white cinematography, you can almost feel the desert sun like a hot brick. –Richard T. Jameson

This transfer really shines at times, with impressive detail on facial close-ups, mountain vistas, and clothing. There are some soft spots, but this is quite forgivable in a 45 year old film. Overall, the detail is very impressive, and tops that of the previous two films on Blu-Ray. I was surprised by how many little things I noticed when I just sat back and let it all soak in – wood grains, dandelions in a field, pebbles on the ground. Black levels are rock solid, color is very naturalistic and stable. Overall it’s just a tremendous job by the MGM studio and Lowry Digital to not overdo it and let the natural film elements stand on their own merits. So many times studios feel the need to over-enhance their older films to have them “compete” with newer releases, which usually just ends up introducing new video noise, or ends up washing out actual detail in the image (”Dark City” and its waxen faces springs to mind.) “Goldfinger,” by not going overboard, sets the bar very high for a catalog film restoration.

Special features also shine – several HD documentaries, a commentary with the cast and crew (including Connery), and some original period promotional pieces round out a really top-notch package of extras.