There are some stories that we will never stop telling. The recent round of these stories, be it fairytales, legends or classic books, seem to lean towards the “darker and grittier” aesthetic. A lot of people complain that this is unnecessary; that it leaves the characters one dimensional, and makes the ridiculous aspects of fantasy worlds all the more obvious and harder to swallow. But there are good things to say about this “genre” of remake. For one, it occacionally looks totally badass. It also, when done right, allows otherwise “silly” aspects of stories to be reworked, which can be a good stepping stone to more nuanced versions of those stories.
The gritty remake of King Arthur was King Arthur (2004) with Clive Owen as the legendary king. It did not add much to the Arthurian legend, and only stands out in my mind due to the uproar over Keira Knightly’s photoshopped bosom on the poster. It’s a bit of an odd relic today, full of actors who would become better known later, for better or worse.
Guy Ritchie’s take on the well-known story is full of grittiness – silent screams, washed out colours, deep drumming music. In the hands of any other director it might have come out as “Batman in the 12th century”, but Ritchie has his own aesthetic, one that clashes head first into the dark fantasy version of Camelot. If you don’t like Guy Ritchie, you won’t like this film. It has all his hallmarks: parallell story, hard to follow narrators, hand held running, slow-motion, and cheeky banter. But does it lean too much in either direction? Would the story have been better served if it layed on more dark grit, or more lock stock?
Continue reading “King Arthur: Legend of the Sword review”