Every once in a while a film comes along that is of a genre but not necessarily of a genre, which transcends and becomes something entirely different, writes Simon Morrison.
Galaxy Quest is sci-fi but not really. The Princess Bride is a fairytale but not quite. Jaws is monster movie that’s not about the shark.
One of the best examples of this phenomenon is a film that came out in 2001 to mixed reviews and modest box office returns that has since gained a cult following for its charm and genre bending quirkiness. But mostly due to a ridiculously charismatic leading man who is sadly no longer with us.
The Joy Under All My Fears
In early 2004 I headed into town to get a new DVD player as mine had given up on life. I was drawn to a Sony player that came with two free DVDs. “A bargain!” thought I and took it up to the counter. “It comes with these…” said the shop assistant and plopped the films on top of the box.
The first one I could see was relatively new – The Sum of All Fears – and so I was pretty pleased to get it as a freebie. Nestled under that was a film I hadn’t heard of. My less-than-impressed face must have revealed that as the assistant quickly interjected: “these are what it comes with” a second time. So I picked it up, turned it over and back and read the title – A Knight’s Tale. I humphed, picked up my purchases and headed home.
I can’t remember the very first time it but I do remember watching it again almost immediately. There are a few films I refer to as “kitchen movies”, that I put on when cooking or feeding the baby or whatever needs doing, and this film went into that rotation.
But then it didn’t. It was too engaging, too interesting, too funny and just too plan distracting so back into the sitting room it went. There it became a firm favourite through multiple rewatches.
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The Cast
If you want a brilliant baddie you can’t do much better than Rufus Sewell as the deliciously villainous Count Adhemar. He is perfect in this role and you buy his disdain and rage as easily as you celebrate his comeuppance in the end [spoilers! -Ed, lol].
He is wonderful in this film and should be given massive credit for making it what it is, in less skilful hands it could have been hammy and cliched.
Shannyn Sossamon handles the switch between the flowery dialogue you would expect in a medieval set film and the modern, sharp delivery required for the comedy that runs through the film with an effortless grace.
She is more than a match for her leading man and you never feel she is less than able to deal with Sewell’s creepy advances, they avoid many a trope whilst allowing the more enjoyable aspects of a traditional romance to play out. She owns the screen in every scene and is clearly having a ball throughout.
The trifecta of supporting characters that act as the heart, soul and comic relief of the film has to go down as some of the best casting of all time. Mark Addy and Alan Tudyk have all the chemistry in the world as our hero’s right hand men, their ability to make you laugh one minute and cry the next is glorious to behold.
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Then you throw in a pre-fame star making turn from the luminous Paul Bettany and we’re off and running. Bettany is having so much fun it’s contagious. Yes the script helps him take off in his heraldic scenes but his delivery makes it soar.
He has pathos too so it’s a multi dimensional experience watching his character assimilate with our heroes, and he sports a rock star-esque coat like few can. These three connect with the audience in a brilliant way, they are beyond likeable, it’s genius filmmaking.
Laura Fraser glides into the crew without skipping a beat to add even more heart (were it possible) to our merry band, driving the story with tenacity and sorrow, she is phenomenal.
A small but beautifully formed part is played by the tall and perfectly formed James Purefoy (referred to as “James Puresex” by Bettany in the DVD commentary) as the Prince of Wales.
He smoulders and smirks and has an easy sexiness that is captivating, he’s only in two scenes but he heats things up nicely and ultimately saves the day. He is a tremendous actor and I enjoy him in anything.
Which leaves only Sir Ulrich von Lichtenstein himself, our William Thatcher, the great and dearly departed Heath Ledger.
Unlike most, I am largely ambivalent about Ledger’s Joker. Perhaps I’m clouded by my dislike of the film (it’s too long and far too preachy) but it’s the least subtle performance of his career. I am, however, a massive cheerleader for his work in A Knight’s Tale.
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Given the tonal choices of the director, it was a tightrope for anyone to walk. Finding the balance between proper comic chops and heartbreaking character development is a high bar which Ledger clears with ease.
He handles everything put in his path in such a relatable way, his relationships personal, professional and romantic are a joy to watch, and he revels in the action scenes, montages and all. He portrays a hero in every sense while being simultaneously vulnerable, William is flawed but relentlessly optimistic.
It doesn’t hurt that he is annoyingly handsome too. It is a tour de force from such a young actor and for me is his best work. I wish we could have seen him in more comedic fare had he stayed with us. His loss was a real tragedy.
Brian Helgeland is an interesting creative force, his screenwriting career is undeniably great but as a director he is far less prolific. The Oscar winning writer has only a handful of directing credits but he is, for me, a director of the old school, perhaps because he is a writer first and so is therefore all about character and character development.
That’s not to say he can’t handle action, the jousting and sword fighting scenes in the beautifully designed and executed tournament arena sets are dynamic and exciting, he provides context both physically and emotionally that make it easy to invest in what’s going on, stakes are clear and rules are explained simply without being overly clunky.
He lets the emotional scenes breathe beautifully, it never crosses into saccharine and when the film is funny it’s really, properly funny.
It’s a testament to the writing and casting that he allows the super snappy dialogue to flit between “ye olde English” and relatable modern parlance in the same scenes, if you want to watch a film where that absolutely fails see Your Highness.
The Soundtrack Does Rock Us
The choice to move between old and new, traditional and modern, starts when the film opens with “We Will Rock You” and is encapsulated perfectly in the post tournament banquet scene. In less capable hands this whole exercise could have been a car crash, a tonal disaster that yanks you out of the film.
Instead what we get is a contextually perfect, massive creative swing that is joyful and satisfying. By the time we see Rufus Sewell consumed by his humiliation and anger while the room is in full swing, we are all in, on board, nodding our heads to Golden Years while the dancers let loose. In terms music supervision, design and score conception and execution, it’s pretty much perfect.
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That banquet scene marries seamlessly with the original score for the film, with its themes and fanfares that support the narrative and characters beautifully. Carter Burwell’s work is wonderful, off kilter and interesting at times, traditional and soaring at others.
It’s an effective and engaging score that elevates the film to something really special. (His work on another Helgeland film “Legend” is also well worth seeking out, one of the great modern scores from a pretty interesting film).
The production design provides incredible immersive depth, allowing massive scene setting wide shots that settle the viewer into the story. The costumes blend seamlessly among the sets too, never over the top or under cooked.
The subtle improvements in our merry band’s appearance as they become more successful is a great touch, it’s indicative of the whole project in that it shows a care and attention to detail that’s not necessarily essential but really makes a difference.
The Movie Gods Were Smiling
A Knight’s Tale is not a low budget film, it’s a $65M movie which in 2000 was a pretty decent commitment from the studio. Period films are expensive.
Action films set in period times even more so, which is the main reason it was shot in the Czech Republic, and the reason why it’s clear in many shots that the extras have absolutely no clue what’s going on.
You can clearly see this in the first scene where Bettany’s Chaucer heralds our hero into the sword arena. Following the crescendo of his introduction there is silence, and visible confusion, for almost a full and excruciating two seconds.
It was only the comedic instincts of the brilliant Mark Addy reading the room and initiating a cheer that save the day, a non-scripted moment that sets the tone for the rest of the film, born out of the extras not having any earthly idea what Bettany was wittering on about. Sometimes the movie gods just smile down upon you.
Given the artistic alchemy Helgaland and his team stumbled across in Eastern Europe it’s no surprise that he wanted to get the band back together as soon as possible.
The Sin Eater (or The Order, depending on where it was released) is by any metric not a good film, it’s far too serious and a little all over the place. It’s a shame, but just goes to prove the adage about lightning and where it lands. It also shows how difficult it is to make a truly great film, sometimes using the same ingredients won’t necessarily give you the same result.
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A Knight’s Tale belongs to a very select group of films that occupy the rarified air of the “films you can watch anytime no matter how recently you saw it” category. It is written beautifully, directed wonderfully, paced magnificently and features a cast you could watch all day. It’s a unicorn of a film, unique, almost perfect.
For 25 years it has been a source of joy in the world, and given the lack of anything even remotely original in recent times, it’s easy to see why I and many others who make the case for its brilliance cannot find anything to compare it to.
Is it a historical drama? Not really. Is it a romantic comedy? Kind of. Is it an action film? At times, maybe. Is it just a great film? Yes. If you want something to restore your faith in the world, don’t hesitate a moment longer, watch this film and you too will realise that a man can change his stars.