“The King” or A clash of icons

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In 2008, British actor Robert Pattinson, after a small but pivotal role in the “Harry Potter” movies,  became the new romantic sensation thanks to Edward Cullen, the vampire of the “Twilight” saga. Ten years later, teenage-faced Timothee Chalamet, moved and enchanted the audiences and awards committees (including the Academy) with his unforgettable turn as Elio in “Call Me By Your Name”.

Now, they face each other in the mud and the blood of the battle of Agincourt, a key moment in the history of both England and France, which became legend thanks to the words of William Shakespeare and his play “Henry V”. “The King”, however, doesn’t want to be another tribute to the capacity of dramatize history which has been an asset for the tragedies of the immortal Bard. Director David Michod is interested in analyzing history and its nuances, the plots and the betrayals to deliver a message of contemporaneity.

“The King” is a nice work of history, maybe a bit too long, which takes his force by the sincere and less heroic representation of Agincourt, which is preceded by too many moments of strategies, chats and plots. Great merit however to the talent of Joel Edgerton (also co-writer of the script) who infuses the iconic role of John Falstaff (one of the few concessions to the Shakespearian universe) with vitality and harsh friendliness but delivering at the end unexpected and noble gravitas. Pattinson too is engaged in a role which continues his attempts to take away from his shoulder the burden of the role of Edward. His Dauphin is an effective villain, manic and larger than life, a fierce beast contrasting the steady rival portrayed by Chalamet.

Director of Photography Adam Arkapaw and Composer Nicholas Britell too are the members of the crew to deliver the most remarkable contribution, playing with grey tones in light and sound.

 

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