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Later publishers then based their reprints on these corrupt editions and added errors of their own. It is the aim of the Iowa-California edition to strip away this accretion of error and present texts faithful to the author's intention. By comparing all the life-time versions of Mark Twain's works, the editors are able to isolate the author's revisions from the printer's and publishers' changes.

A Connecticut Yankee in King Arthur's Court

The record of this comparison supplies not only the evidence for editorial decisions, but also the history of the author's efforts to shape his work. Most definitely! The high spots: Bing Crosby, as natural and charming as he has ever been in a movie; William Bendix, whose impeccably enunciated lines are a comic wonder - he made me believe he would have been great as one of the comical characters in A Midsummer Night's Dream; Cedric Hardwicke, who knows just how to deliver his lines to the greatest effect; and the script, which is really very funny.

The low points: 1 the script for Rhonda Fleming's role. She looks radiantly beautiful, but her dialog is worthless, and so she comes off as dumb in a movie where the three leading men come off as very clever; she deserved better. Van Heusen and Burke wrote some great songs, such as "Swinging on a Star" for Crosby's hit Going My Way, but there isn't a memorable number in this movie. That's probably why this otherwise very enjoyable movie is so forgotten. You'll have a great time watching this. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!

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Alternate Versions. Rate This. A singing mechanic from finds himself in Arthurian Britain. Director: Tay Garnett. Top-Rated Movies for a Solar Eclipse. Xtra Oldies Films and Movies - s. Best use of Eclipse. Time Travel Movies. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Learn more More Like This. When he bests several knights in battle by scaring them with his pipe , Sandy claims them for him and sends them off to King Arthur's court in Hank's name — "she was," he observes, "a handy person to have along in a raid" Twain Hank begins to have an unusual "reverence" for Sandy's use of language, his scorn turning to praise as he claims, "it was borne in upon me that I was standing in the awful presence of the Mother of the German Language," Twain Eventually, Sandy becomes a love interest for Hank and an actual mother , but this only occurs because of her steadfast faithfulness to him: "this sort of partnership would compromise her, sooner or later" Twain So, in the interest of propriety — not love — Hank arranges a wedding.

Overall, Sandy seems to represent Hank's misanthropic feelings during their first adventure together, when he complains, "I was ashamed of her, ashamed of the human race" Twain , and yet mere paragraphs earlier she was "handy to have along.

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This conjecture is supported by Sandy replacing Puss as Hank's love interest; as Hank assimilates the sixth century, he grows perceptually, and outgrows his desire for Puss. Sandy, acting as a replacement, gives Hank the "perfectest comradeship that ever was" Twain , when he had grown to the point where he could appreciate such a thing as an equal partner in a relationship. But just as Hank is torn away from Puss, he is torn away from Sandy, by Merlin. Neither character seems able to stand on his or her own without Hank, but — unlike Sandy — neither represents anything good about human nature, suggesting that they figure instead darker aspects of the hero.

For example, Merlin's power in the kingdom rests on his faith in people's superstitions. Although Hank professes to hate this sort of mindless stupidity, he engages in it himself by eclipsing the sun with his "power," blowing up Merlin's tower and fixing the well with "magic" that turns out to be merely roman candles. Merlin presents Hank's basic paradox: he embodies the very thing Hank wants to see destroyed in his bloodless revolution, and yet Hank relies on the same power over the people as the magician superstition in order to institute that revolution.

Morgan le Fay presents an equally odd case. Hank's name seems to insinuate a form of connection between them: Morgan le Fay is a projection of Hank Morgan's darker, less humanitarian side. Her presence in the book seems to suggest some sort of division in Hank's psyche, or perhaps she serves instead to foreshadow his later cruelties.

Morgan le Fay also inspires Hank's soliloquy regarding how much of a man is himself, and how much is inherited. He says, "All that I think about in this plodding, sad pilgrimage, this pathetic drift between the eternities, is to look out and humbly live a pure and blameless life, and save that one microscopic atom in me is truly me : the rest may land in Sheol and welcome for all I care" Twain In this passage, Hank seems to be excusing not only Morgan le Fay, but also himself, of every heinous crime that has been or will be committed from that point forward time in the novel.

By absolving her, he frees himself to continue employing Merlin's scare-tactics in order to run Camelot. The film added an ingenious new frame narrative; however, this also robs the story of some of its mystery. Hank Martin, a radio announcer from Hartford, Conn. Upon arriving, Hank comes upon "a spooky house on a stormy night," where "an inventor has created a machine that is able to hear sounds from the past" Sindelar, July 5. The storm knocks over a suit of armor, which comes crashing down on the unsuspecting Hank, rendering him unconscious. Clarence is love-struck with Sandy, and so wants to save her.

Arthur and Hank decide to go in Clarence's stead, as Hank discovers that Clarence is his great-great-great-great grandfather. Bombs dropped on Morgan le Fay's castle during the rescue serve to smash a tower — which falls on Hank, again knocking him unconscious, and bringing him back to the present.

These revisions to Twain's original story call for examination of Hank and his psychological projections the other characters. Hank begins the story with a bit of a shy side; this is maintained throughout. This is slightly undermined, however, by his sarcasm, which remains fairly true to the tone of the novel. In this setting, Hank is a sarcastic funnyman — playing on Rogers' familiar stage persona — but as in the Classics Illustrated comic version of the novel, he is flat, his darker side sacrificed for the adaptation.

Moreover, in the film Hank is not after a peaceful revolution that will change England for the better; instead, he is solely interested in becoming rich at the nation's expense.

When Arthur asks what manner of magic advertising is, Hank replies, "It makes you pay money you don't have for things you don't want. The film Hank does rescue the captives from Morgan le Fay's castle during the final scene in Camelot, suggesting that Hank is a humanitarian, but this side of Hank was not well-established before this point in the movie. Clarence is substantially transformed in the film. He is much older than 15, and instead of being Hank's page, he is madly in love with the King's daughter, Alisande — whose important role in the novel is much reduced; she is a damsel in distress, nothing more.

Clarence is knighted in order to rescue her, but Hank discovers that Clarence is an ancestor and so insists that he remain safe at the palace. If Clarence is harmed or killed, Hank reasons, he can never be born.

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Clarence has no relation to the telephone or any of Hank's other inventions, with the exception of the air raid that ends up sending Hank back to his own time. But having no connection to the telephone does not damage his association with Puss Flanagan, as in this movie there is no association; Puss is never mentioned. The one aspect of Clarence's character that is notably preserved is Hank's first question to him, "Just what is thy sex?

Connecticut Yankee in King Arthur's Court, A 1949 Original Trailer

But this uncertainty is then dropped and never re-addressed, nor used to deepen Hank's own character. Merlin, on the other hand, retains his "my magic versus yours" role throughout the movie. Hank uses a cigar lighter and a cigar to show that he is more powerful than Merlin, saying, "Where I come from, you pretty much have to be a magician to make a living!

In this version, however, Merlin is not the instrument of Hank's demise, and the magician relies on Morgan le Fay for support, enmeshing their characterizations.

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Although Merlin could possibly still pass for the embodiment of superstition, Hank doesn't rely on him to gain his own power quite as much as in the novel. Morgan le Fay's depiction in the film presents an interesting and ambiguous case: as Hank's last name is changed from "Hank" to "Martin," the tie between Morgan le Fay and Hank is weakened. Instead of serving as Hank's dark double, le Fay represents a love interest.

This subplot only lasts for a few minutes, though, and soon we find that Hank is only interested in her for the sake of freeing the King and his daughter. Throughout the film, then, Hank remains a static character, because the other characters — projections of his psyche — are less complexly realized.