I
have seen this many times described as a Sword & Sorcery film,
and while I am certain the comparison was not made with any kind of
rigorous definition in mind, I think it bears consideration.
Released in 1981, the film had been in development for over a decade,
with director John Boorman planning it as early as 1969. The script
he initially came up with, and the film he proposed, were deemed too
long and too costly, and instead the studio, United Artists, told him
to do a Lord of the Rings movie. He worked on that while
shopping his King Arthur project around, and supposedly some of the
set designs developed for the Tolkien film were ultimately used for
this.
It
shows, in that Excalibur is a completely fantastical version
of the Arthurian legends. There is not a single nod to any kind of
historical accuracy of any kind. The opening titles proclaim the
setting is “The Dark Ages”, but the knights wear shiny plate
armor that was not in use until the 15th century. The
weapons used are a stew of anachronistic styles, and there are no
recognizable English landmarks to be seen. The world of the movie
seems to consist purely of primordial forests and mysterious castles.
No doubt budget considerations prevented them from showing a period
town or city, but it works in creating a purely fantastical mood
lifted right from the legends.
Combining
the shining armor, deep green woodlands, blood, and naked flesh
together under the lush cinematography creates a primal and lurid
landscape for the story. It seems to come bursting out of the screen
in rich colors and dreamlike settings, grounded by the gritty, dirty
details and the sometimes graphic violence. Far from a polite fairy
tale, Excalibur is carnal and passionate epic, bursting with the
larger-than-life characters of the stories we all know so well,
seeming to distill them down to an archetypical essence.
Magic,
represented in the film by an otherworldly green glow, is very much
present, and depicted as a dangerous, unknowable power. Morgana
tells Merlin she is a “creature like him”, setting magic as an
inborn power, usable only by a few, who are thus not exactly human.
Magic wields great power, but is highly dangerous, even to those who
use it, and it is Morgana’s unrestrained use of that power which
leads to her downfall
The
moral landscape of the film could be argued almost endlessly, because
while the characters within the world believe in absolute good and
evil, the universe itself seems to reflect no such axis. The flawed
characters, tormented by failures and driven by passions and oaths,
struggle to live up to the standards they set and create, very few of
them managing to do so. Even Lancelot – the paragon of virtue and
knightly grace – is shown to fail, tortured by his love for
Guenevere and the conviction that he has failed his friend and king.
All of the characters, even relatively flat ones like Mordred, get
little moments that add layers, and when the movie has a chance to
out and out confirm the existence of God, it veers off and leaves us
with more questions than answers.
The
acting comes across as quite stagey now, and that’s because Boorman
cast mostly unknowns who came from the theater, and so their style
was markedly different from the more naturalistic acting then coming
to dominate mainstream cinema. It works because the dialogue is also
quite elevated, having much more to do with Elizabethan speech than
anything modern. This is another divergence from S&S, as while
the prose in Sword & Sorcery stories is often elevated, the
speech usually is not, in line with the express lower class origins
of the characters and the genre.
It
is in the realm of symbolism that the film diverges most from a Sword
& Sorcery tale, as Excalibur is highly symbolic, while S&S
rarely bothers with overt kinds of symbolism. It is telling how the
armor in the film begins as dark and dented at the beginning, during
the civil wars that divide the land, and then becomes shiny and
gleaming during the height of Arthur’s reign. Later, as the
knights vanish in the quest for the grail, their armor becomes slimed
with mud and dented by years of ill-repair. Percivals’ retrieval
of the grail itself is almost entirely symbolic, causing him to shed
his armor, emerge from the water, and cross a drawbridge to claim it
from a disembodied voice that asks him riddles.
The
truth is that Excalibur is not a Sword & Sorcery movie,
really, but rather an adaptation of one of the prime sources of
inspiration for the form. Myths and legends influenced and drove the
kinds of adventure and fantastical literature that served as the
bread and butter for Howard, Moorcock, Smith and Leiber. Tales of
King Arthur, Robin Hood, and Roland inspired the likes of Talbot
Mundy, H. Rider Haggard, and Robert Louis Stevenson to invent the
stories of adventure that would go on to sow the seeds from which new
kinds of fantasy would spring in later years.
Odd how your recent reviews have covered multiple old films I've seen in the past year! Anyway, yes, this one is decidedly problematic, emphasis on decidedly. Its moral ambiguity, combined with the rigid acting and directing, feels more like philosophy than entertainment.
ReplyDeleteAnd yet I really love it.
DeleteI have loved this film since it was first released. I agree that the overall effect is not particularly S&S, but some scenes definitely veer into it. I think it gets it's S&S label from the gritty/grimy fight scenes and the overt sexual scenes.
ReplyDelete