EXCALIBUR (1981)
A Film Review
Copyright Dragan Antulov 2004
According to the results of recently published poll, some 11 % Britons
think that Adolf Hitler is product of someone's imagination rather
than historical figure. Same poll suggests that 57 % Britons think that
King Arthur was actual historical figure. That poll shocked many
historians, showing how Hollywood finally blurred the line between
real history and myth. However, in the case of King Arthur some
British historians weren't that appalled, shocked or convinced of their
countrymen's ignorance. According to some studies, in 5th Century
AD a man named Riothamus brought some sort of political unity,
law, order and prosperity to inhabitants of Britain following the
Roman withdrawal from the island. In next centuries accounts of
Riothamus blended with oral tradition of native Britons and their
medieval conquerors. The mythology, further refined in the works of
English, French, German and other medieval poets and troubadours,
was finally codified in LE MORTE D'ARTUR by Sir Thomas Malory
(1414-1471), one of the first printed books in England. In last hundred
years or so, Arthurian legend became part of global culture, mostly
thanks to Hollywood movies. The most impressive of those movies
was EXCALIBUR, 1981 epic directed by John Boorman.
Screenwriter Rospo Pallenberg adapted book in such way that the
almost entire Arthurian mythology is condensed into single feature
film. Prologue begins in a Dark Ages - period when England was
plagued by endless wars between petty little fiefdoms. It is
prophesised that the one man would unite the country and bring
peace, harmony and prosperity. Uther Pendragon (played by Gabriel
Byrne) thinks that he can make prophecy true with the help of
magical sword Excalibur, given to him by powerful wizard Merlin
(played by Nicol Williamson). Only a step away from fulfilling his
goals, Uther succumbs to lust towards Igrayne (played by Katrina
Boorman), wife of one of England's mightiest dukes. For the sake of
one night with Igrayne Uther throws away the peace treaty, any
chance to become a king and ultimately his own life. Product of
Uther's and Igrayne's intercourse is taken by Merlin and later grows
up to become young man named Arthur (played by Nigel Terry).
When it turns out that Arthur is the only man able to wield Uther's
magical sword, he becomes a king. He quickly vanquishes all of his
opponents and gathers formidable group of supporters known as the
Knights of Round Table. Peace comes to England and Arthur from
his castle rules as just, benevolent and enlightened ruler. But that
bliss is short-lived because evil lurks within Camelot, mainly in the
form of Morganna (played by Helen Mirren), Arthur's magic-
practicing half-sister.
Arthurian legend was born in turbulent times of transition and that
explains its contradictions. Arthur (or its historical equivalent) lived
in times when old pagan world was being slowly replaced by
Christianity. The conflict between those two worlds reflected on the
Arthur himself - on one hand, he is described as the first truly
Christian monarchs and his men are embodiment of Christian
chivalry; yet, Excalibur, Merlin and all the magic belongs to pre-
Christian world. Malory, the author of the book, was also the man of
contradictions living in turbulent times. 15th Century England was
ravaged by endless civil wars that would end in old feudal system
being replaced with absolute monarchy. Malory himself was product
of those turbulent times; he allegedly wrote the book in prison,
having been put there for the acts that had little with ideals of
chivalry. Five hundred years later Boorman builds his entire film on
those contradictions and conflicts.
The conflict in EXCALIBUR isn't just the conflict between paganism
and Christianity. It is also conflict between romanticised mythical
past and its modern realistic representation. The film is compromise
between the two. Arthur and his knights are presented just like they
used to be imagined in medieval songs and chronicles - as the
idealised embodiment of medieval chivalry. Boorman chose to
discard historic authenticity; instead of 5th Century AD costumes,
protagonists wear clothes and objects more familiar to people who
lived in Malory's times; Arthur and his men are literally knights in
shining armour. All that makes their human weakness more apparent
- people in the armour are plagued by rage, lust, self-doubt and often
commit acts contrary to their noble code of conduct. Boorman
underlines this contrast with the heavy use of naturalist violence -
people are impaled, limbs are chopped off, blood spurts and birds
feast on decomposing human corpses. Boorman also another thing
which is hard to imagine in spectacular period films these days -
nudity. It is far from being gratuitous, because nude characters in this
film are being vulnerable than being erotic.
Boorman directed this film with great skill. Irish locations are put to
good use in this film and they show how Western Europe used to be
both beautiful and sinister in its pagan times, before the arrival of
Christianity and modern civilisation. Alex Thomson's
cinematography enhances this impression with green light being
reflected in knights' armour plates. Acting in the film is superb,
although only a fraction of this excellent ensemble is well-known in
today's cinema (most notably Patrick Stewart of STAR TREK: NEXT
GENERATION fame, here in the small role of Guenevere's father).
Nigel Terry is very good in the role that required transformation
from clueless youth to embittered old man. Nicholas Clay is also very
effective in the complex role of Lancelot. Cherie Lunghi and Patrick
Geoffrey are more than solid in their roles of Guenevere and
Pereceval, while Byrne is very effective in the role of Uther. Most
effective acting, however, comes from two artists whose on-screen
animosity (according to Boorman in his DVD audio-commentary)
matched the their real life feelings - Helen Mirren and Nicol
Williamson. Mirren is formidable as embodiment of seductive evil,
while Williamson chews the scenery as the character who is hero's
mentor and comic relief at the same time. Williamson's role, however,
isn't helped with Pallenberg's dialogue which often leaves much to be
desired. Music in the film is also something of a disappointment -
Trevor Jones' original score doesn't mix well with Wagner, while Carl
Orff's CARMINA BURRANA suffers being overused in plenty of
other films.
However, despite those minor flaws, EXCALIBUR has one big
advantage over most of period, fantasy and sword & sorcery films
being made these days. Because its contradictions are part of authors'
artistic vision, this movie represents true art and so far the most
honest and most powerful on-screen depiction of the ancient and
universal legend.
RATING: 8/10 (+++)
Review written on April 23rd 2004
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X-Language: en
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X-RT-TitleID: 1006848
X-RT-AuthorID: 1307
X-RT-RatingText: 8/10
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