El Cid is “the story of Rodrigo Díaz de Vivar [Charlton Heston] ... a simple man who became Spain's greatest hero. He rose above religious hatreds and appealed to all Spaniards, whether Christian or Moorish [not unlike how JCVD befriended Jews and Muslims in The Order, in which Heston also appears], to confront a common enemy that threatened to destroy their land of Spain.”
Rodrigo's unifyin... Read more
El Cid is “the story of Rodrigo Díaz de Vivar [Charlton Heston] ... a simple man who became Spain's greatest hero. He rose above religious hatreds and appealed to all Spaniards, whether Christian or Moorish [not unlike how JCVD befriended Jews and Muslims in The Order, in which Heston also appears], to confront a common enemy that threatened to destroy their land of Spain.”
Rodrigo's unifying work is facilitated by the fact that Moors and Christians have a common language, although this lingua franca is not, as one would expect, Spanish but rather English — apparently the official language not only in the Iberian Peninsula but also in the rest of Europe, and North Africa.
I mention this because I can't help thinking that a lot must have been lost — and replaced — in the translation between El Cantar de Mío Cid and this film directed by Anthony Mann; then again, El Cid is not based on the Castilian epic but in the French tragicomedy Le Cid by Pierre Corneille (which explains — but does not justify — that Rodrigo's wife, played by Sophia Loren, is called Chimène and not Jimena). This is a big mistake.
The anonymous author of Mío Cid begins his poem in media res, with the exile of the Cid — a point that Mann takes almost two hours to reach, and even then practically in extremis. Everything that happens before this moment can be classified as excess foreplay.
Don Rodrigo, on his way to wed Doña Chimène (although in those days even a 27 year old Loren would have presumably been already considered an old spinster), rescues a Spanish village from an invading Moorish army.
Two of the emirs, Al-Mu'tamin (Douglas Wilmer) of Zaragoza and Al-Kadir (Frank Thring) of Valencia, are captured. More interested in peace than revenge, Rodrigo escorts his prisoners to Vivar and frees them on the condition that they never again attack the lands of King Ferdinand of Castile (Ralph Truman).
For his act of mercy, Don Rodrigo is accused of treason by Count Ordóñez (Raf Vallone). At court, he’s further accused by Chimène's father, Count Gormaz (Andrew Cruickshank), the king's champion. Rodrigo's elderly father, Don Diego (Michael Hordern), calls Gormaz a liar. Gormaz slaps Don Diego, challenging him to a duel. In a private meeting, Rodrigo begs Gormaz to apologize to the elderly but proud Diego. Gormaz refuses repeatedly, so Rodrigo challenges him to a duel and kills him. Chimène witnesses Gormaz's death and swears to avenge him, renouncing her love for Rodrigo.
Here the writers really screwed the pooch; I know there was no way that Charlton Heston and Sophia Loren weren’t going to end up together, but how the script goes about it is nothing short of asinine: Rodrigo persuades the King to force Chimène to marry him as payment 'for services rendered.'
This approach is reminiscent of Richard III 'wooing' of Lady Anne, or even Henry Fonda’s treatment of Claudia Cardinale in Once Upon a Time in the West; the problem is that those two were the villains of their respective stories, while Rodrigo is supposed to be the hero of this one — and yet, despite everything, Chimène eventually, willingly accepts her status as a trophy wife, because what woman can resist her father’s murderer? Why they didn't just have Gormaz instigate the duel, and have Rodrigo kill him in self-defense, I’ll never understand.Show less
