|
★★★★★
7 October 2019
A movie review of THE KING. |
"Your father is plague to England," Hotspur (Tom Glynn-Carney)
The opening conversation tells the truth to incompetent power. What a royal epic! If you were hoping for a staid, conventional flag-waver, look elsewhere. THE KING is a masterclass in subverting the genre, while simultaneously delivering thrilling drama. From the director of ANIMAL KINGDOM, the creative team have removed the jingoism surrounding the myth of King Henry V. The spin on the speech before the Battle of Agincourt is refreshing. THE KING is not a celebration of war or hegemony.
The opening conversation tells the truth to incompetent power. What a royal epic! If you were hoping for a staid, conventional flag-waver, look elsewhere. THE KING is a masterclass in subverting the genre, while simultaneously delivering thrilling drama. From the director of ANIMAL KINGDOM, the creative team have removed the jingoism surrounding the myth of King Henry V. The spin on the speech before the Battle of Agincourt is refreshing. THE KING is not a celebration of war or hegemony.
Tied to this telling of history is an epic metaphor for the immorality of Brexit. The stupidity and paranoia of King Henry IV (Ben Mendelsohn) has led to a time of civil unrest. He is fighting unnecessary internal conflicts on two fronts, with both Scotland and Wales. The nation is divided and weak. And there are those with the ear to the monarchy yearning for a war on the continent and a continuation of the Crusades. The film criticises those who crave power. Prince Henry of Wales, heir to the throne, a.k.a. Hal (Timothée Chalamet), has no desire. At first, he comes across as a spoilt womaniser and boozehound, until his character starts to unfurl. Hal is drained at the pointlessness of war.
Of course THE KING will be compared to GAME OF THRONES, but this is far more satisfying than that television show turned out to be. Monarchy and royalty are heavily castigated. “All monarchy is illegitimate,” Princess Catherine (Lily-Rose Depp) boldly states. Henry IV was a usurper, she observes to his heir. A country should not have to cross its fingers each time a monarch ascends the throne.
|
|
“Unnatural mechanics from the edge of Christendom,” William (Sean Harris). Divide and rule. THE KING does not shy away from observations on greed, xenophobia, organised religion, etc. All within a rich tapestry of fifteenth century Britain. The acting is superb. Timothée Chalamet holds the screen enigmatically as a ruler striving for peace. Not easy to portray leadership qualities while also being hard to read. His eyes are unnervingly already tired of the world at such a young age, as well as reluctant at fulfilling his birthright. Sean Harris is nuanced as the Chief Justice. Joel Edgerton as Sir John Falstaff is the soul of the film. He is the Obi-Wan Kenobi to Chalamet’s Luke Skywalker, except far more interesting as mentor and conscience. Edgerton is also the co-writer. I will watch anything with his name on the script. Even smaller parts (Robert Pattinson, Lily-Rose Depp, Thomasin McKenzie, Dean-Charles Chapman) drive and command. THE KING is so atmospheric. Those behind and in front of the camera are creatively firing on all cylinders.
Audiences wanting some action to wind into the mesmerising conversational exchanges need not fear. Wait till you see a horse run into a guy on the battlefield. Effing hell! You will be wincing. (Okay, it’s not quite ‘Battle of the Bastards’ good, but then what is?) The sound design rumbles through the cinema. The lighting bleaches, shearing proceedings of romanticism.
This has weight. The dialogue is mellifluous. The acting filled with gripping solemnity. The score skilfully both anchors and drives proceedings. THE KING is exhilarating.
