Respond to these rapid questions in our The Green Knight quiz and we will tell you which The Green Knight character you are. Play it now.
A surreal atmosphere is created in the opening scenes of David Lowery’s magnificent “The Green Knight,” as light snow, misty fog, and falling ash all blend together to create a surreal atmosphere. You can feel the chill in the air and smell the freshness in the air. Instantaneously, you are transported to another world, far away from your everyday concerns, and prepared for an experience unlike anything else available in nearby theaters. For more than two hours, you will be plagued by this sensation.
Adapting the 14th century chivalric romance Sir Gawain and the Green Knight into one of the most memorable films of the year, director Lowery creates a fascinating swirl of masculinity, temptation, heroism, and religion that is one of the most memorable films of the year. Despite the fact that some of Lowery’s choices may be questioned by Arthurian experts, and the film certainly challenges traditional expectations of stories about heroic knights for modern audiences, fans will be drawn to this mesmerizing journey guided by Lowery’s incredibly poetic eye, career-best work from Dev Patel, and an artistic sensibility that transports audiences to another world. It’s a film that incorporates the concepts of storytelling and performance into its narrative — whether it’s a King asking for a heroic tale or children watching a puppet show — while also casting an enchanted spell over its audience with its own enchanting spell. More than any other film I’ve seen in a long time, I would have watched it again right away, but it’s also a film that really sticks in your mind, swirling around like the falling flakes in the opening scenes.
‘Sir Gawain and the Green Knight’ is a fantasy film starring Dev Patel as Sir Gawain, the nephew of King Arthur (Sean Harris) and Queen Guinevere (Kate Dickie), and the son of Morgan Le Fay (Sarita Choudhury), who is accused of witchcraft by some in the village. A lavish Christmas banquet hosted by the King and Queen is the setting for Gawain’s first scene with his lover (Alicia Vikander) and mother, and he is surprised when he is asked to sit by their side. When Arthur tells him that he has taken young Gawain for granted, Patel immediately conveys depth with his striking eyes, conveying both the emotional pride that comes with finally feeling seen and the fear that comes with finally feeling unnoticed. (He accomplishes a great deal throughout the film in terms of physical performance, relying on his eyes and body to convey emotion in the absence of dialogue.) It is established early on in the film that this is not an action film through long, deliberate pauses between Gawain and Arthur. Arthur expresses an interest in hearing a story.
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In front of their very eyes, one begins to take shape. The Green Knight (Ralph Ineson) bursts through the doors of the hall, and the audience cheers. “The Christmas Game” is something he wants to play with you. He is half-man, half-tree, and he casts an intimidating figure. He offers to make a deal. To strike him, he challenges any of Arthur’s knights to do so. If they are successful, the knight will receive his imposing weapon as compensation. However, there is a price to pay. After a year has passed, the knight must return to the Green Chapel, where the Green Knight will return to him the exact strike that was given to him a year before. Gawain takes the initiative and, despite Arthur’s reminder that this is a game, beheads the Green Knight in front of everyone. After picking up his head, which does not appear to be too concerned about its detachment, the mythical creature rides away, laughing the entire time. Gawain is in for a long year ahead of him.
The Green Knight Quiz
This is all really just a prelude to “The Green Knight,” which is primarily concerned with Sir Gawain’s journey to the Green Chapel, where he will meet his end. A scavenger, played by Barry Keoghan, a mysterious young woman, played by Erin Kellyman, and a Lord, played by Joel Edgerton, are among the characters he meets on his journey. In keeping with the poetic structure of its source material, Lowery’s script returns to themes such as the rhyming structure of a poem and unfolds his story in what almost feels like cinematic stanzas that repeat and comment on each other. This spiraling sense of disorientation causes Gawain’s journey to become increasingly like a dream, as if he never left that banquet with the Green Knight in the first place. As a result, the film gains momentum through a cumulative sense of disorientation. It becomes less of a story about a physical journey and more of a story about a mental and emotional journey, a series of challenges that a young man must overcome before facing his ultimate fate.
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Because of the loose storytelling structure of “The Green Knight,” the technological elements of the film become even more crucial to its success. Lowery has brought his extraordinary team, which includes regular composer Daniel Hart and cinematographer Andrew Droz Palermo. Lowery has also brought a few surprises. In addition, he edits the film himself, and he is said to have significantly re-cut it from the version that was supposed to premiere at SXSW in March of 2020. Using fluid camera movements, the film alternates between being dreamlike and being deeply connected to Mother Nature. “The Green Knight” is about many things, and some of the best film writing of the year will unpack its themes in greater depth. But a sense of man’s relatively minor role in the grand scope of history and nature is essential, and Palermo captures the lush greens of the world around Gawain in such a way that it appears as if the Knight himself is already everywhere in his world. Alicia Vikander delivers an incredible speech about how much we all return to the earth, and Gawain is constantly reminded of his own insignificance and fragility by the other characters. If The Green Knight isn’t able to apprehend him, someone or something else will.
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While “A Ghost Story” may be Lowery’s most ambitious film to date, he has experimented with complex themes in previous projects such as “A Ghost Story,” and this reflects the film’s exploration of the meaning of life in the relatively brief period of a human existence. Lowery manages to leave just enough room for interpretation while maintaining a strong sense of confidence throughout. In many cases, great films must walk a fine line between sounding confident in the voices of their creators while also remaining open enough to elicit discussion from the audience. This is one of those films, and it is called “The Green Knight.” There is no doubt in anyone’s mind that Lowery knows exactly what he is doing, and yet people will leave the theater with vastly different interpretations of the play. Again, this is analogous to a great poem that has a different meaning for each person who reads it, and some of those readings may even surprise the original author.
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There are a lot of things that “The Green Knight” asks of its audience: to stay engaged with what could be described as its slow pace, to consider its themes without having them highlighted for easy consumption, and willingness to watch a film about a famous knight that contains very little in the way of traditional heroism. It is frightening, sexy, and strange in ways that American films are rarely permitted to be, culminating in a sequence that, for this viewer, casts the entire film in a new light throughout the course of the film. In that banquet hall, we’re all just sitting back and listening to a master storyteller tell the story that King Arthur had requested be told to us.
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