As a history enthusiast with a soft spot for epic tales and a keen eye for filmmaking, I must say that “William Tell” is a fascinating exploration of a legendary figure that has captivated audiences for centuries. The movie’s grandeur and its unabashed self-seriousness are reminiscent of the larger-than-life stories from the medieval era, which I find delightfully entertaining.
According to popular Swiss lore, William Tell gained legendary status in the Middle Ages after being compelled by invading Austrian soldiers into an extraordinary challenge: shoot an arrow through an apple placed on his son’s head, thus saving his family from death. This feat was no easy task, but the brave man’s accuracy proved decisive, sparking resistance among the Swiss and leaving a lasting impact that extends even to modern times – inspiring works like Gioachino Rossini’s famous overture, as well as humorously depicted in “Far Side” comics. The creators behind “William Tell” aim to extend this tale into an action-packed film series.
Making its premiere at the Toronto Film Festival, this movie is known for its forward-thinking plot structure, introducing a multitude of characters throughout its lengthy 133-minute runtime, ultimately concluding with a blatant hint towards a potential sequel in its last frame. Despite this, featuring the impressive performance of Claes Bang in the main role and an engaging ensemble cast, it becomes less difficult to accept that there might be further chapters in the Tell saga.
Inspired by Friedrich Schiller’s 1804 play depicting Tell, director Nick Hamm aims to captivate viewers from the start by reminding them that this character is a renowned figure: He’s the one who famously shot an apple off his son’s head! The over-dramatic opening scene shows our protagonist (Tobias Jowett) preparing his crossbow, with his child in danger amidst a fierce army and terrified townsfolk. I’m sure you must be curious about how they arrived in this predicament.
The movie initially appears absurd, but then we’re taken back three days prior, setting the stage for a boisterous saga filled with mockery due to exaggerated period hairstyles, odd dialogue like “scimble scamble”, and Steven Price’s bombastic orchestral soundtrack. There are passionate war speeches and complex, multi-layered battle scenes, yet the most enjoyable moments come from appreciating the film’s self-seriousness. Financed at a hefty $45 million, the elaborate medieval sets and grand vistas are beautifully captured by DP Jamie D. Ramsay on a wide screen. However, the visuals fail to create the immersive experience that the most captivating adventure films do.
The main driving force behind “William Tell” appears to be its strong portrayal of character, notably in the enthusiasm it displays for portraying its villains, except for Ben Kingsley who makes a brief appearance as an eyepatched Austrian ruler, adding a touch of traditional authority. However, Connor Swindells is the standout performer in this movie, playing Gessler, the king’s power-hungry first officer. Unlike other characters, Gessler seems more focused on abusing his power over the Swiss people than on serving the crown. When not engaging in conflict with the determined Tell, Gessler is usually seen with his snobbish minions and a rebellious princess (Emily Beecham), providing ample opportunities for him to exhibit his villainy.
Title “William Tell” manages to navigate complex political intrigue effectively, but falters significantly when trying to delve into its main character’s psyche through PTSD-triggered flashbacks and a questionable moral compass. Despite Bang’s admirable portrayal of the lead character, complete with a touch of gritty bravery, the film itself is criticized for its inconsistency in portraying the harsh realities of war, often transforming them into sensational action sequences.
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2024-09-11 11:46