Green Knight Review
Words by Liam Horgan
The opening moments of David Lowery’s fantasy epic, The Green Knight set main star Dev Patel's head on fire. This moment sets the tone of Lowery’s adaptation of the 14th-century poem Sir Gawain and the Green Knight. Unfolding like a tapestry of visual delight and narrative discord. Lowery’s film is possibly one of the most unique films to come out this year. Told in chapters, the film tells the tale of Gawain, the young nephew of King Arthur. Opening on Christmas Day, Gawain (Dev Patel) goes to Camelot to join his Uncle Arthur (Sean Harris) in celebration. However, behind the scenes, witchcraft is afoot and soon the knights are visited by the monstrous Green Knight (Ralph Ineson). What unfolds is an exploration of courage, death, coming-of-age and legacy.
Dev Patel’s Gawain is a foolhardy protagonist, invoking Patel’s innate onscreen charm to full effect. Gawain is equal parts pitiful as he is admirable, confounding as he is understandable. As is noted later in the film, he is no knight, yet Patel infuses enough courage and fortitude in his Gawain to show his great potential as one. It’s clear that both lead actor and director were on the same page in their interpretation of the tale of Gawain. Alongside Patel, Alicia Vikander delivers a unique dual-performance as Essel and the Lady, delivering a fierce monologue as the latter. Joel Edgerton also brings a wolfish hunger to his character of the Lord, his contrast with Patel’s stoicism creating a homoeroticism that is rarely seen in fantasy films of this nature. Finally, Ralph Ineson embodies pure terror in the giant form of the eponymous Green Knight, a creature of nature whose sole presence evokes feelings of inadequacy. Despite being hidden under prosthetics from artist Barry Gower, Ineson’s Green Knight is a foreboding on screen presence.
Ralph Ineson as the monstrous title character.
For those expecting some form of epic fantasy escapism, look elsewhere for The Green Knight is not concerned with escaping the fears of life but rather chooses to dissect them. Lowery’s thematic expression in this film is a joy to watch unfold. Gawain is both brave and cowardly, the legacy of his bloodline hangs over him. As he states earlier in the film ‘he has no story to tell’. He is but a boy amongst men, a shadow amongst legends. Yet there’s a sense from Gawain that he understands the nature of the Green Knight’s game. Many people he encounters comment on Gawain’s return journey, on what will be his legacy, while Gawain himself does not return these sentiments. At one point Vikander’s Essel asks “Why greatness? Why is goodness not enough?”. It's only in the film's closing moments, when he is shown a bleak, nihilistic future, that Gawain receives an answer to that question, and in turn finds the courage to accept his fate. Both an exploration of impending death and a tale of life. The Green Knight lies somewhere in between these two opposing concepts, existing in a world of Christianity and paganism, of magic and religion. The moments where these worlds collide is where the film truly succeeds. While some will find Lowery’s revisionist approach unfulfilling, it is in the departure of the source material that the strength of the film’s themes lie. This can be seen in the moment where Gawain encounters the giants, the vision of Gawain’s possible future as a poor king, and in the scenes with St. Winifred. Played by Erin Kellyman, St. Winifred never meets Gawain in the poem, but the addition of the character to Gawain’s tale plays to Lowery strengths as a storyteller.
Arthurian legend is no stranger to cinema, there’s plenty of adaptations of legendary kings and his knights. However, none have been as visually unique as The Green Knight. Shot by cinematographer Andrew Droz Palermo around Ireland, the tale of Gawain fills the screen with visually rich images and vibrant colours. Not since the masterful combination of Guillermo Nevarro and del Toro has a work of fantasy been so radiant. Alongside Palermo’s stunning cinematography is Daniel Hart’s score. Of all the film’s achievements, this is perhaps the best. While many modern fantasy scores are poor imitations of Howard Shore’s genius work on The Lord of the Rings trilogy, Hart instead reinterprets this work for a more intimate score, evoking medieval bard tunes and combining them with evocative string work to great effect. Hart’s score is less concerned with the adventure of Gawain’s quest but more the impending terror which comes with its conclusion.
Visually distinct, effortlessly ethereal, and thematically strong, Lowery’s film was worth the release delay. While some might be turned off by the, at times, deliberately illusive narrative, The Green Knight is a wonderful cinematic experience. With the reopening of cinemas post-pandemic, there are worse ways to celebrate the return of the big screen.
4.5/5 Stars
Worth the Watch? Absolutely
