King Arthur and the stories surrounding his court have been popular for nearly 1,000 years, ever sinceGeoffrey of MonmouthwroteHistory of the KIngs of Britain. Whether Arthur was a real person has never been as important as the stories surrounding him; stories given a major boost bySir Thomas Mallory’s 15th centuryLe Morte d’Arthur.
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These legends have inspired poems, novels, operas and, of course, films. The following includes musicals, comedies, romances and attempts to get to the historical core of the legend, demonstrating the hold the story still has on us to this day.
‘King Arthur’ (2004)
InKing Arthur,Artorius(Clive Owen) and his small troop of Sarmatian cavalry are preparing to withdraw from Britain with the rest of the Roman army when they are given one last mission - to secure the safety of a Roman family. From that point on, matters get very complicated quickly, involving marauding Saxons, vengeful Celts (called “Woads” in the film), and naturally, fate in the shape ofGuinevere- a Woad played byKeira Knightley.
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This is a brave attempt to set the Arthurian legend in a fixed historical period, and makes a convincing argument that the legend is based firmly on a real person. If the story itself feels a little formulaic, the film still has some great set pieces to keep an audience engaged, and holds together better thanThe Lost Legion(2007), a similarly themed but less successful film.
‘Prince Valiant’ (1954)
There’s history, and then there’s Hollywood History, a flashier, cleaner and thoroughly modern version of the past. Arthurian films from the 50s, such asKnights of the Round Table(1953), are an example of this. The industry also had the habit of inventing new characters to add to the panoply of already existing Arthurian knights, damsels and villains. In this case, Hollywood took a shortcut and kidnapped a character already invented by comic strip writer and artistHal Foster.
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Prince Valiant,starring a youthfulRobert Wagner, is an excellent example of Hollywood History, great fun but slightly less historical than an episode ofBlack Adder. In the end, the film’s standout character isn’t the athletic Prince Valiant but his nemesis, the treacherous Sir Brack, played with great gusto byJames Mason.
‘Sword of Lancelot’ (1963)
An underrated actor (as well as an Olympic-class fencer),Cornel Wildehad an erratic - if long - Hollywood career. After creating his own production company with wife,Jean Wallace, he made a series of films includingSword of Lancelot. Wilde co-wrote, co-produced, directed and starred in the film.
A genuine attempt to break away from some of the more colorful Hollywood Histories, the film was grittier, bloodier and sexier than most of the Arthurian films that had come before it (Wallace played Guinevere, resulting in some real onscreen chemistry between the star-crossed lovers). Italmostfeels genuinely medieval, and hassome convincingly gory action scenes.
‘Camelot’ (1967)
One of themost successful musicalson stage or screen in the 1960s,Camelotis the perfect example of the Arthurian legend’s adaptability to different mediums and different genres; helped along by a bagful of nifty songs byAlan Jay LernerandFrederick Loewe.
Based onT. H. White’sThe Once and Future King, it plays up the romance and tragedy of the love triangle between Arthur (Richard Harris), Guinevere (Vanessa Redgrave) and Lancelot (Franco Nero). The movie is three hours, and these days more famous for its music, butCamelotactually makes for a decent drama.
‘Monty Python and the Holy Grail’ (1975)
Regarded on both sides of the Atlantic as one of the funniest comedies ever made,Monty Python and the Holy Grailalmost never got off the ground because no studio would produce it. In the end, the film’s minimal budget (which might explain the use of clacking coconuts instead of real horses to make the sound of galloping hoofs) was funded from a variety of sources, including rock bands likeLed ZeppelinandPink Floyd.
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The movie follows a series of thematically connected sketches by the Monty Python crew rather than a continuous narrative. King Arthur and his squire, Patsymake their way through a surprisingly convincing medieval landscape in search of the Holy Grail. The factthey never find the Grailis one of the jokes. Filled with a good deal of whimsy as well as humor, this is a great King Arthur film.
‘Excalibur’ (1981)
John Boorman’sExcaliburis a spectacular if not entirely convincing retelling of the heart of the Arthurian legend: the relationship between Arthur (Nigel Terry), Guinevere (Cherie Lunghi) and Lancelot (Nicholas Clay), a triangle that mirrors the dynamics between a king, his subjects, and the land itself.
Despite both being based on Mallory’sLe Morte d’Arthur,Excaliburis notCamelotwithout the music. Boorman’s film carries greater dramatic weight, and consequently the failure of kingship has greater dramatic consequences. The battles scenes are visceral, and Arthur’s death at the hand of Mordredhad audiences shuddering in sympathy.
‘A Connecticut Yankee in King Arthur’s Court’ (1949)
Based onMark Twain’s 1889 novel,A Connecticut Yankee in King Arthur’s Court,the movie of the same name starsBing Crosbyas the protagonist Hank Marvin. Hank is the eponymous Yankeewho finds himself in 6th century Britain ruled by an aging King Arthur. With modern know-how he rises in Arthur’s esteem to a position of some influence, arousing the jealousy of Merlin and Morgan le Fay.
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Unlike the original novel, the films ends on a somewhat positive note, with Hank out-singing and outmaneuvering his enemies. If its title wasn’t so long this film could be used as a synonym for schmaltz. But schmaltz has its place, and done well still makes for satisfying viewing. In fact, this film is not only satisfying, it’s also fun and memorable.
‘The Fisher King’ (1991)
Directed byTerry Gilliam -one of the two Pythonsat the helm ofMonty Python and the Holy Grail -The Fisher Kingtakes its premise from one of the stories connected to the Arthurian legend. The wounded Fisher King, whose domain is barren, is waiting for a stranger to save him.
In this modern retelling, set in New York, Jack Lucas (Jeff Bridges) is the wounded king, and Parry(Robin Williams) the homeless,psychologically damaged stranger who rescues himfrom a beating by street thugs. This action sets in motion a whole chain of events leading to both Lucas and Parry being healed and finding love. The real genius of this wonderful film is its affirmation that simple actions can lead to great changes, and that given a push, hope can produce something real and concrete. In this regard, at least,The Fisher Kingis the most Arthurian film of them all.
‘The Sword in the Stone’ (1963)
Based on the first book inT. H. White’sThe Once and Future King,The Sword in the Stoneis basically King Arthur for children. It uses animation, music and comedy to tell the story of Wart- Arthur as a boy - as Merlin teaches him the basics of physics, gravity and flying rather than swordsmanship, horse rising and leadership.
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As a children’s film in its own right,The Sword in the Stoneworks, and one reason for that is the mystique that goes with telling part of the Arthurian legend. As it should be with real childhood, first there comes wonder and surprise and revelation. The darker side of the legend, and of life itself, is properly beyond the scope of this charming film.
‘The Green Knight’ (2021)
WithThe Green Knight, American directorDavid Loweryhas made what feels like a quintessentially British film. The story, based on a 14th century poem, follows the journey of Gawain (Dev Patel) from King Arthur’s court to the Green Chapel where he meets his destiny under the great axe of the Green Knight.
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The film is formed as much by its soundscape and landscape as its actors, weaving the real, the illusory and the magical into a narrative where reality always seems just out of reach. At one point, Gawain asked the ghostly Winifred - in whose cabin he temporarily finds refuge - ‘Are you real or are you spirit?’ and she answers ‘What’s the difference?’ Indeed. In a film which strangely gets closest to the mythology at the heart of the Arthurian legend, there is no difference.
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