Will Holt ‘23
Reviews Editor
Generally speaking, I concur with Bilbo Baggins’s assertion in The Fellowship of the Ring that “[i]t is no bad thing to celebrate a simple life.” This character trait, however, was not the product of spontaneous creativity; J.R.R. Tolkien molded the worthy hobbit's worldview so as to reflect his own. A reader of Tolkien’s works may thus intuit the bard’s own perceptions of life rather easily by looking to the relationships and philosophy of his beloved shirelings.
Although I hope this analysis proves informative to prospective visitors of Middle Earth, I do not present it for purposes merely educational in nature. Rather, the aim of its provision and my notation of a related congruence with my own beliefs is to convey that I typically do not find psychedelic, experimental, or otherwise bizarre films to be particularly enjoyable (cast me as a plebeian if you will, but ethical journalism mandates honesty). I often find them to be half-baked efforts of half-talented artists clinging to the delusion that, by offending contemporary tastes to a sufficient degree, they will somehow earn the commendation of future generations. David Lowery, however, bucks this preconception with his film The Green Knight. In a remarkable fashion, he manages to push the definition of the word “trippy” to new boundaries while simultaneously doing yeoman's service to the original Arthurian legend. To those amongst my readership who have read or heard the story of Sir Gawain, the film’s discipline in avoiding typical Hollywood excesses will prove refreshing. To suspense junkies in love with thrillers or horror movies, the sphincter-clenching experience of watching the young knight struggle to drag himself over each and every hurdle shall offer nothing but sardonic pleasure. And finally, to my readers who indulge in the fruits of illicit horticulture, be prepared to trip major [spherical objects]. In short, the film is a wild ride, especially when viewed in theaters.
Lowery’s greatest achievement with The Green Knight is his deft balancing of surrealism and realism. He takes full advantage of the traditional mythology to construct mind-bending imagery that combines the story’s magical elements with a gritty and surprisingly authentic portrayal of medieval life (e.g. no knights clad shiny plate, just dirty ole’ chainmail). The design and temperament of the Green Knight himself may be the most striking piece. Verdant as a jungle and merciless as a wild animal, he embodies the might and brutality of nature, forcing Gawain to check his courage at every stage of his journey. To summarize my point, one cannot look away whenever this chaotic force appears on screen.
Unfortunately, however, this film is not perfect. Most importantly, I found Gawain himself to be rather flat, failing to develop as richly as in the original fable. I do not blame Dev Patel for this problem directly; it lay in the fact that the plot provided him with little opportunity to embody the chivalric elements which the Green Knight actually challenges. Gawain begins his adventure as an uncentered and uncertain youth, and he ends it in very much the same state. Fortunately for Patel and Lowery, this movie stands as one of the exceptional few that offers supporting elements of sufficient strength to compensate for such a major flaw in the protagonist’s ark. As a result, I can nevertheless recommend it without guilt to all of my readers with an open-mind and a bit of nerve. However, should you choose to join Gawain in his adventure, be sure to mind your head; you may lose it on the way.
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wjh4ew@virginia.edu