David Lowery's gorgeous and inventive adaptation of 'Sir Gawain and the Green Knight' conjures magic in abundance.
“Remember: It is only a game.” Those words, more ominous than reassuring, are heard early in “The Green Knight,” David Lowery’s misty, melancholy dream of a medieval epic. They are spoken by King Arthur to his impetuous young nephew, Gawain , who’s about to confront the challenge of his life. If this is indeed a game, the stakes are uncertain, the rules a mystery, the outcome far from assured.
The importance of seeing clearly, of peering into oneself and the larger world with depth and discernment, is at the heart of a story marked by its own peculiar intensity of vision. Tellingly, when we first meet Gawain, he’s being yanked out of a deep slumber, not for the last time in a movie that plays like a series of rude awakenings. The one rousing him this time is his lover, Essel , in a brothel on Christmas morning.
Speaking of music: These fateful encounters draw lyricism and gravity from the singsong interludes and delicately plucked strings of Daniel Hart’s enveloping, ever-present score. They are also delineated by ornate chapter headings, one of a few structuring devices — a Punch and Judy show is another — that can feel both immersive and distancing: classical touches infused with an arch modern playfulness.
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