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  • boblipton25 August 2012
    Anthony Quinn basically repeats his signature role from ZORBA THE Greek as a good-natured, large-living gambler and adviser in sexual matters -- invariably in the context of classical mythology.

    This is not to say that Daniel Mann has directed a remake. This time, Quinn is married to Irene Pappas and their son is dying. The story's plot concerns Quinn's struggles to raise enough money to take his son to the mountains of Greece, where he imagines the boy will recover. The story is offered deliberately as a classical tragedy written small.

    The cast is filled out with fine actors, including Inger Stevens in her last role, and Sam Levene -- best known for playing small-time Runyonesque crooks in the 1940s. However, the point of this movie is to see Quinn playing Zorba struggling against fate. and not an Englishman's civilized repression.
  • In A DREAM OF KINGS, Anthony Quinn plays Leonidas Matsoukas, a ZORBA THE GREEK in late-1960's New York with smoggy industrial backdrops and absolutely no trace of the colorful counter-culture...

    Despite being a hopeless gambler, roaming philanderer and with a dying son, he has the immense/intense zest for life Quinn was known for, making this a kind of Quinnspoitation and overall fairly entertaining...

    The best scenes occur outside his grungy apartment where cheated-on yet assertive wife Irene Papas knows nothing of her husband's seductive infatuation with local widowed-baker Inger Stevens...

    Quinn's noisy scenes with both dark and blonde-haired actresses are liken to a stage play, wielding the kind of "real man loved by initially reluctant/literally crying women because they just can't help it" that's quite dated nowadays...

    Yet Quinn's not entirely overboard the rest of the time, with the titular futile dream to take his son to Greece for a miraculous cure... plus his equally futile attempts to afford such a trip...

    But the famously epic actor... whether hanging at a local gambling joint or working from an office as a makeshift counselor giving random-client-advice from old men to young boys... seems, for better or worse, all-too-real at the crest of the American Renaissance where lower-budgeted films preferred people to plot-lines.
  • Warning: Spoilers
    It had been five years since Anthony Quinn played Zorba, and the very same here that Kander and Ebb wrote a musical of that classic movie that appeared on Broadway, when and his co-star Irene Papas return to their Greek characterizations from that film, playing different people but similar with the passions and the Lust For Life. Here, the lust for life is for their son, possibly dying, and Quinn wants him to have some fresh air in his homeland and get out of New York City. The bigger than life Quinn plays Matsouras who dreams big but doesn't do anything to really full fill those dreams, and every time those dreams he has seems to be falling towards him, something happens to take them away.

    I first became familiar with this movie through the movie soundtrack that had a theme song that is not on the print that I saw of this film. It's a shame, because not only was it a good song but it seemed to really go with the ideals that I saw when I finally caught it. Papas, whose character of the widow wasn't involved with Zorba, but is now his wife and tired of his love thing and frivolous, childlike manner. Queen would rather hang out and gamble with friend Sam Levene than work, and he ends up in an affair with a hard-working widow, played by Inger Stevens, whose parents had at first but later makes demands on him that can't be fulfilled.

    This is not the classic of Quinn's Academy Award nominated 1964 film, but it is very watchable and it is hard to resist his character who is lovable in spite of his irresponsibility. I would see Quinn when he finally got to play the musical Zorba in 1983, and that passion was still there. In fact, he re-does a Greek wedding dance from "Zorba the Greek" here that later he would do again in the musical. Quinn and Papas are fanrastic, and it's a tribute to her character that she sticks around and continues to love him. If anything, his character isn't as much of a dreamer as a big fool who doesn't realize what he has until it's almost too late.
  • Incredibly underrated film. Yes it does remind one of Zorba the Greek 1964, but still it is different. Anthony Quinn gives one of the best performances of his career I was going through queen filmography, and i wasn't very excited for the film because of the bad reviews the only thing that made me watch it is Quinn and the title. The movie completely consumed me, a "man on fire" scenario, where the lead characters is racing against time surrounded by troubles, filled with methodological references, life of Greek migrants, poor family, sick son, gambling, and alive performances by Quinn and Irene Papas, the movie ends with a powerful note leaving the viewer with a hopeless smile. "A dream of kings" a movie that fits the title and one of the most underrated movies ever made.
  • Quinn was an excellent actor but in this tragic story of a degenerate, booze, ego-bloated gambler who mentally tortures his wife Irene Pappas and the target of his extra-marital lust, hard working widow Inger Stevens, as well as me, with his "dreams," he's way over the top, spreading his annoying, obnoxious personality all over the screen. An exhausting experience to sit through, like a bad off-off Broadway play.
  • Warning: Spoilers
    A Dream of Kings is not for everyone. It's a drama with some comedy, about a flawed man whose zest for life, despite his recklessness, always sees him through. People mistakenly read the film as a tragedy, assuming certain plot elements lead to that conclusion but missing everything about Matsoukas' character -- which is to say, when he's on the ropes, he's at his best. Anthony Quinn gives a solid, robust performance as Matsoukas, and though I can't speak for whether anyone of Greek descent appreciates his playing a Greek American, I can say he creates a character who seems as natural for him as breathing. People may argue he just redoes Zorba, the Greek, and there are distinct similarities, and he is once again paired with the steady Irene Pappas. But Matsoukas is more jaded and in some ways more aware of his flaws. Don't expect a lot of explosions and chases because there's nothing like that. The film is paced like life, that is, if you're life found you drifting to the edge every other day. It also sadly shares the distinction of being Ingar Stevens' last film. Worth a watch, especially if you're older and have ever been caught off guard by the curve balls of life. The ending is, in its own way, life affirming.
  • This film is 2 hours but plays like it's 2 days. Steeped in so much melancholy, with wailing, sloppy lovemaking, dreary sets, droopy faced ethnics and a tidy deus ex machina ending that slaps you in the face for wasting time on this interminably long movie.

    This theme was done infinitely better with Alan Arkin as Puerto Rican "Papi". Anthony Quinn tries hard to endear himself but it goes nowhere. So much was happening but the film still manages to bore and depress. Inger Steve's is misplaced as a Greek widow, (she came from the Swedish part of Greece I guess). She is transparently just there for her allure; Inger Stevens was just moribund, and a deathly aura is around her.

    During this movie, I felt the compulsion to scream, pound the floor, kick the tv over. That's why I saw it in blocks of seemingly 8 hour segments. It drags like no other movie has. It's DMV waiting kind of torture. I think Telly Savalas or Vic Tayback would have been better in this role than Anthony Quinn.
  • First, the film is set in Chicago, not New York. Fine acting from Quinn, the great Irene Pappas as his wife, and the enigmatic and quite lovely Inger Stevens in, sadly, her last film. Sam Levene is touching as Quinn's dear friend. Quinn as life force and failed dreamer is not to everyone's taste ... but it's Anthony Quinn--always the romantic, raging mensch with a code in those mean streets--a code that he eventually betrays, though with a compelling motive. This is curious film in many ways but a classic example of what happens when men and their dreams collude with what Pappas' character calls "dirty reality."