In this blog post, I’d like to examine how music, costumes, cinematography, characters, and narrative—all transcending time—come together in ‘Knight William’, a coming-of-age story based on medieval chivalric literature.
As the saying goes, “There is nothing new under the sun”; all art—and indeed, all people—are much the same today as they were a hundred years ago. The same holds true for the stories they tell and the tones they convey. Therefore, it is variation alone—hiding behind the name of “creation”—that has allowed us to fully savor the joy of creation. Nothing could be created out of thin air without building on the past. The film ‘Knight William’ can be said to have benefited greatly from this very aspect.
The film is set in the Middle Ages. Like any run-of-the-mill medieval chivalric tale, it is a coming-of-age story about a knight who loves a woman, seeks to change his fate, takes on challenges, and dreams of the outlandish—a film that follows his journey. It’s the kind of story that could easily have been a hundred times more clichéd.
However, the film takes us by surprise right from the start. For example, the music that confidently kicks off the film is Queen’s “We Will Rock You.” Even though we’ve just seen knights falling nobly to the ground accompanied by a majestic narration, the fact that 20th-century rock music appears so brazenly is a development beyond imagination. It’s as if the film is mocking audiences who tuned in thinking this was a tribute to chivalry. No, I mean any audience member who recognized the medieval setting—regardless of whether it’s a tribute to chivalry or not!
Similarly, the film’s entire soundtrack consists of rock or fast-paced electronic music. This fusion isn’t limited to the film’s music alone. Such an anachronistic blend is evident throughout the film.
The costumes are also designed to feel modern in some way. Toward the end, outfits that look almost like T-shirts pop up left and right, and even sheer fabrics—a trend popular only in recent times—make an appearance. By then, this had already become part of the film’s unique flavor. In other words, the audience’s tolerance itself had broadened from the very beginning. This puts the film in a very advantageous position. A certain degree of quirkiness isn’t a flaw but becomes part of the film’s unique character.
The same phenomenon appears in the cinematography. While the story is classic, the shot composition is very sophisticated. The cathedral scene in the middle of the film, when William reappears to woo Josling, is truly impressive. The wide shot, which looks as if everything were set up on a theater stage, moves only within a two-dimensional plane. However, this cinematographic technique does not hinder the film’s immersive quality in the slightest. On the contrary, the atmosphere that fills the frame to the brim captivates us.
In addition, various sophisticated and experimental shot designs—such as high-angle shots, low-angle shots, and high-speed cinematography—play a significant role in making the film rich and varied.
Now, let’s talk about the story. I’m not sure if the spirit of chivalry blends well with the modern world. At least to me—though perhaps this is because I’ve never actually lived in the Middle Ages—the spirit of chivalry itself feels no different from our own lives today. It’s not just in this film; I see reflections of ourselves in all classical literature. The distinct backdrop of the Middle Ages actually leads us to perceive this story as a fable. In this way, I saw myself in ‘Knight William’ as well.
Stories, after all, are already a blend of many elements, so the term “fusion” doesn’t seem quite fitting. Of course, in terms of form, there may be orthodox narratives, experimental ones, or new narrative styles, but my logic is that human nature itself cannot be fused. People are already a fusion from the moment they’re born—so what’s the big deal!
Furthermore, the genre elements in this film aren’t connected in a ridiculous or implausible way. In short, after watching it, you don’t feel like you’ve been tricked by a fake. Occasionally, there are unnecessary exaggerations or omissions that feel like superfluous additions to the two-hour runtime, but surely we can overlook that to some extent. After all, good art isn’t defined solely by everything fitting perfectly into place, is it?
Moreover, those minor flaws are more than made up for by the film’s incredibly vivid characters. Every single one of them is sharply defined. The utterly preposterous Knight William and the many characters who assist him form intricate relationships, and their distinct personalities provide plenty to enjoy. Of course, this character development might be seen as clichéd, but even without a logical explanation, I found these characters utterly endearing. It’s not easy to put a reason behind why someone is simply “likable.”
Above all, even though it may be unrealistic to maintain this throughout the entire two-hour runtime, the sight of William steadfastly holding onto his sincerity still tugs at my heartstrings. Natural talent doesn’t matter. No one was born a knight.
