Green Knight (2021), directed, written, edited, and produced by David Lowery (A Ghost Story), is an epic, revisionist tale of the 14th century Arthurian fable Sir Gawain and the Green Knight. Lowery recalls the majority of tale faithfully, besides inserting his own creative input here and there. Lowery was accompanied with the talents of lead cinematographer, Andrew Droz Palermo in capturing some truly stunning, picturesque landscapes.
The film opens with an establishing shot of a striking, regal image of Sir Gawain with a crown slowly falling to his head, only for Gawain to be suddenly engulfed in flames; alluding to the chaotic and self-destructive future rule of King Gawain.
In the opening scene of the film, we see a woman being hurried onto a horse (possibly to escape from someone or some criminal act) with a man rushing to her defense with a sword. This valiant act of virtue then transitions towards an unconscious Gawain, a poor representation of a pious knight, who is tired after a night of adultery and drinking. This is the first instance that demonstrates that Gawain is not exactly the quintessential Arthurian knight we know from the chivalric poems.
There is a smooth transition from the shot of the lady and the male rescuer in the background, which seamlessly glides through a window and onto Gawain in the foreground in one, continuous motion. The camera follows Gawain closely behind him as he leaves the brothel in a hurry, giving us the impression that the camera is acting like an omniscient observer.
As Gawain attends a congregation with the Knights of the Round Table in the presence of King Arthur and Queen Guinevere to celebrate Christmas Day, Morgan la Fey (Gawain's mother) attends a sort of religious ritual with his sisters. Gawain revels with his fellow knights and is summoned by King Arthur to sit beside him. As Arthur asks Gawain to regale him with tales of his knightly bravery, Gawain responds that his life holds little greatness. Gawain is unsure of himself, he feels disheartened as he lacks the heroic status of the other knights.
The jovial celebrations are interrupted by the abrupt bursting of the doors and the sudden blowing of the candles. The Green Knight enters, a hulking, armoured green figure with a face made from bark and a beard made from entangled twigs, carrying a brutish axe. Ralph Ineson's naturally deep and croaky voice compliments the ominous creaking of the Green Knight's branch and bark. The Green Knight is silent, imposing, and mysterious. The Green Knight issues his game to King Arthur's knights, that if one of them can strike him down then he will return the same blow one year hence. Gawain impetuously leaps over the table and accepts the Green Knight's challenge.
The Green Knight falls to his knee and Gawain strikes him down with one swift blow to the neck. A feeling of ensuing chaos pervades the scene after Gawain beheads the Green Knight. Gawain's petrified facial expression in the foreground juxtaposes the hearty cheers of celebration in the background. The choice to use slow-motion footage here enhances the essence of shock in the scene. Here begins the tumultuous journey that will test Gawain's strength of character and solidify his legacy as a Knight of the Round Table.
Throughout his journey, Gawain is presented with heroic tasks from several characters in the form of pleas and requests. Each of these requests requires Gawain to demonstrate one of the five knightly virtues; courtesy, chastity, piety, generosity, and fraternity. In the original Arthurian manuscript of 'Sir Gawain and the Green Knight', Gawain triumphantly passes all the tests presented by Lord Bertilak (The Green Knight) and upholds his honour throughout. On the other hand, in Lowery's iteration, Gawain fails to pass his tests even though his intentions are just, his resolve is proven to be weak.
One shot that was ingrained in my memory in The Green Knight was the 180 degree rotating wide shot of Gawain traversing across the rocky plains. This gradual rotating shot could convey Gawain's gradual descent into madness, especially paired with the sounds of echoic wailing, ominous brass, and heavily-plucked violin notes. The enigmatic cinematography paired with the echoic, brass notes imbues the film with an eerie sense of mystery. Gawain does indeed suffer from hallucinations, like when he he see's his own dead body, so there is potential that the giants, the fox, and the headless spirit could be figments of Gawain's insanity.
Circles are a predominant motif in The Green Knight. They include, the circle window in the ceiling of the congregation hall, the circular pentagram necklace, Morgan's ink pot, the circle formed by the encircling twigs during Morgan's ritual, the circular crown attachment, and Essel's bell. Circles are often used in cinematography to represent things that are soft, non-threatening, maternal, or natural. Circles act a motif in The Green Knight to reflect the theme of balance, the equilibrium of life and death, death being the inescapable destination for Gawain at the end of his heroic journey. Circles can also represent completeness, such as the completion of Gawain's quest and nature's continuous cycle of life and death.
Gawain fails to show any sympathy to the scavenger after hearing of the death of his brothers and little appreciation after receiving directions from him. Gawain fails to show generosity to the scavenger and subsequently seals his fate as he is then mugged of his prized belongings.
Gawain rudely invites himself into Winifred's house, sleeps in her bed, and then expects payment for retrieving her head from the spring. Gawain fails to demonstrate courtesy to the aid of a maiden in distress. Even though he does retrieve the decapitated head from the spring, he only does so with promise of payment. Gawain lazily seeks the aid of the giants so he can traverse the plains quicker and reach The Green Chapel in due time. The fox sends the giants away so Gawain can complete his quest alone and honourably.
Gawain falls victim to the seduction of Lady Bertilak. Although Gawain shows restraint and is reluctant at first, after her multiple sexual advances, he eventually succumbs and fails his test of chastity. Gawain is dishonest with Lord Bertilak about his affair with Lady Bertilak, thereby breaking the agreement they made; in that whatever Gawain learns that day he must share with Lord Bertilak, just as he shall share his hunting prize with Gawain.
The Green Knight is an epic adventure tale of trials and tribulations, of danger and daring. Gawain begins as a privileged, spirited young knight. He is thrust into the perilous wild, stripped of his knightly possessions, his sword, his armour, and surrounded by the fantastical and the unknown. Gawain is left with just his wit and wile to survive the harsh conditions of nature.
As Gawain embarks throughout his quest, we notice Gawain's character matures and his resolve strenghtens. Gawain develops a brotherly friendship with Lord Bertilak, and enjoys the accompaniment of the fox. Gawain finds courage in himself in his most terrifying moment, and here as the Green Knight brandishes his brutish axe above his neck, Gawain exhibits his greatest knightly virtue, bravery. Gawain has this sudden moment of relief and acceptance, and through his courage he finds peace with his death.
With appearances of colossal giants, a headless spirit, a talking fox, and a hulking avatar of nature, Lowery enchants us with a fantastical world of myth and folklore, and beguiles us with mystery and illusion. Dev Patel cashes in an engaging performance, the plot is complex, the scenery is entrancing, the scores are powerful, the cinematography is striking, and the dialogue is expressive and succinct. The Green Knight recalls Gawain's odyssey from an impious, privileged boy and is tempered into a resolute, courageous knight worthy of the Round Table.
By Lucas Barker, BComm Minor in Media Studies, and an avid cinephile. 19/03/22
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