Excalibur (1981, John Boorman)

“Forged by a god. Foretold by a wizard. Found by a king.”

Historians and scholars have debated for years about the truthfulness of the King Arthur legend. Although most of them have concluded that the stories about Camelot, Merlin, and the Knights of the Round Tables are mostly part of a mystical fantasy, there is evidence that the often-told story has basis on real people and events. With all legends, it is impossible to know what is true or what is fiction.

At the outset, Director John Boorman clearly articulates the aim of his thesis: the Arthurian legend explains a period of transition in human history that seems missing from history books. That transition represents an end of an era of darkness and mysticism (represented by the Dark Ages) and the beginning of a period of renaissance and enlightenment (triggered by the discovery of America in 1492). Boorman has clearly succeeded in the aims he set out to achieve; an allegory of mankind losing its sense of wonder, and the price that we eventually paid for a “civilized” society. It’s an interesting approach that will puzzle – and fascinate – audiences for years to come.

Stylish and spellbinding, Excalibur is an astonishing accomplishment and it breathes much-needed new life into the well-known myth. Boorman has not only given new form and resonance to the story and characters; he has managed to create a perfect fusion of legend and historical accuracy. Boorman’s interpretation keeps all the mysticism of the story intact, while placing the fantastic events in their real time and place. The director captures the grimness of the Dark Ages like no one has done before or after. Realism and mysticism have never been realized so vividly and in such great harmony.

I was shock to read that this was a relatively low-budget film, considering the scope and opulence that the entire production radiates. Alex Thomson’s exquisite, Oscar-nominated cinematography achieves a surreal atmosphere, and his work is one of the film’s greatest achievements. The special armors designed by Terry English are extraordinary too. One of the my favorites anecdotes about the making the film is the one related to the mutual personal and professional discord between actors Nichol Williamson and Helen Mirren. Since the actors play mortal adversaries, the film benefits from their uncomfortable situation; they have great chemistry. Anyhow, Excalibur is such a provocative and stimulating film that even if it doesn’t completely satisfy, at least it will give one something to think about for days to come. As far as I’m concerned, it is the definite movie about the tale.