Spoilers.
A man takes up a challenge to a give a blow to The Green Knight (which will be returned in a years time to the giver) to win an axe for King Arthur but chooses excessive force. Gawain spends a year revelling before he has uphold his end of the deal.
It is lengthy earthy-looking tale, delivered with avant-garde flair by director David Lower. The production is first rate from the costumes to the set design, the on location feel palpable. Its interpretation of the Camelot lore is as complicated as the wonderfully visuals and exemplary special effects on display.
The film could be seen as the the conflict between mankind and nature or the importance of integrity and goodness over reputation and legacy. Be careful of your actions, or they will be retuned. Karma. Or travel as far as you like, but you'll can't leave yourself behind. Countless interpretations and/or many more.
The cast all bring something to the table, including Alicia Vikander. Patel's performance as Gawain is enigmatic. Joel Edgerton's Lord leaves an impression but his screen time is limited. Kate Dickie as Queen Guinevere is memorably eerie. Sean Harris' take on King Arthur is perfectly understated, unique and fitting. However, Ralph Ineson as the Green Knight steals the show, with echos and vibes of Christopher Walken in Sleepy Hallow (1999).
It is reminiscent of the feel of Valhalla Rising (2009). Lower offers a drawn out quest that has fantastical elements, also themes of tragedy, temptation, heroism and religion. Among the folklore, blood, sex and magic it is beautiful and haunting. However, subjectively it doesn't have the roundness or conventional narrative clout of Excalibur (1981), or pacing of Beowulf & Grendel (2005) or The 13th Warrior (1999) to name a few. It's not stated when it is set, but based on the styles etc Lower rather than place it in the 5th, early 6th century, opts for the 14th or 15th century (when the poem was written). The Green Knight could have been an epic like Excalibur or Kingdom of Heaven (2005), a timeless definitive knights tale and Arthurian legend, but instead it frustratingly travels a curious dreamlike path delivering an experience to be studied rather than enjoyed as a film.
Though the question of Gawain's ultimate fate is left ambiguous, the wording and the fact the Knight does touch him (this could be his return blow) and he does survive in Sir Gawain and the Green Knight, the poem on which it is based, can offer closure for some viewers.
Overall, it's the type of film to watch at least once, a compelling, commendable, unique work of art, but like the works of Alejandro Jodorowsky or Robert Altman it is an acquired taste.
No comments:
Post a Comment