David Lowery’s take on the 14-century poem about Sir Gawain’s quest for greatness turns Arthurian legend inside out. Read our review of 'The Green Knight
have, over years of scholarship and rereading, very much been subject to interpretation. Chivalry, temptation, Christianity, nature’s devilish mix of predictable, seasonal progress and vast uncertainty — even latent feminism — have all been lobbed at the text as explanations for its peculiar essence. It’s hard to imagine adding yet another dimension of interpretation to a 14th-century Arthurian gest such as this.
All of which suits this particular filmmaker’s style and attitudes. I tend to think of Lowery as a master of lore and myth, no matter the subject, and of his films as testaments to the almost childlike wonders such stories can inspire in us. His gangster tale is memorable for telling a familiar story, not as if the audience has never heard it before, but as if the teller has never before had an audience.
It’s the Green Knight himself, in the end, who provides that clarity. And it’s there in the Green Chapel, where Gawain confronts his fate, that Lowery’s imagination is most brilliantly on display. What is ostensibly the narrative climax begins, counterintuitively, as an exercise in patient dwelling, a slow-building study set in a kingdom of nature, overwhelmed by natural sounds, the scent of wet rock practically leaking into the theater.
It’s the question, the purpose of legend that Lowery seems to be after, with all its correlative questions of time and its vexations, the impermanence of life , the hard promises of death . Esel asks the question aloud, but Lowery, we realize, has been asking it all along. Why greatness? Why is— contra myth, and importance, and valor — not enough? It may just be a game, as King Arthur says.
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