An amazing, astounding, and all-together awesome Arthurian adventure. Meditative mythologizing and darkly whimsical classical fantasy; unlike most of its ilk in depth, artistry, and intent.
Intensely reflective and impressionistic treatise on life’s pursuits, the destructive nature of man, and the inevitability of decay’s reclamation no matter our deeds for ill or honorable. A bit of a coming of age and Campbellian semi-heroic quest to find meaning in life and one’s truth. Just like Lowery’s other work, it is somber and thoughtful, about the totality of one’s life & death.
Palermo presents us with decadent and richly realized tableaus. Graceful dances of light and shadow on stone juxtaposed with lush greeneries and furtive landscapes. There is a fullness in the desolation and a crypt sense to the abodes. But when warmth was called for, it melted onto the screen. Tremendous work and visually robust.
There is magic and intrigue but its is stolen in whispers and hinted in smoke; wonder and strangeness abound but are taken in stride. Paired with the more modern characterization of Gawain and the ethos of the tail, it is both relatable and uncanny. The mix of Shakespearian bluster and contemporaneous colloquy was also added by the fantastic cast, namely Patel but also Vikander, Harris, Keoghan, Edgerton, and Kellyman - all fantastic.
There is a battle underlying between the domineering Christianity and the old pagan beliefs - a contradictory construct at the heart of Arthurian legend, that has consistently utilized both. Similar paradox could be derived from the pacing, which could be seen as plodding by some, but for me and my enchantment, was brisk and blissful.
So much is left unsaid and to be read into. Interpretation was the lush spice enlivening this delicacy. Savor each morsel or feast ravenously, both satiate.
