A demystified take on the tale of King Arthur and the Knights of the Round Table.A demystified take on the tale of King Arthur and the Knights of the Round Table.A demystified take on the tale of King Arthur and the Knights of the Round Table.
- Awards
- 4 wins & 8 nominations
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaIoan Gruffudd was spotted curling his eyelashes by Ray Winstone one morning before shooting. Winstone spread the word, and Gruffudd earned the nickname "Sir Lashalot" for the duration of the shoot.
- GoofsPelagius did not advance a theory of political freedom, but resisted the doctrine of original sin, arguing that one was able to perform good works and achieve salvation by sinlessness alone without requiring spiritual Grace. It was declared a heresy of the Roman Church in 418 A.D.
- Alternate versionsThe film was originally envisioned and shot as an R-rated piece with corresponding graphic violence. However, after the picture had been edited, Disney executives demanded it be changed to a PG-13, hence necessitating a lot of effects work to remove the blood from the battle scenes. Additionally, a number of scenes were removed and rearranged, and some new scenes were added. In total, the Director's Cut runs roughly 15 minutes longer than the theatrical cut. These additions include:
- the scene where young Lancelot (Elliot Henderson-Boyle) leaves his village in longer.
- a scene of young Arthur (Shane Murray-Corcoran) with his mother (Stephanie Putson), and then a scene where he discusses freedom with Pelagius (Owen Teale) whilst he watches the young Lancelot arrive on the hilltop.
- during the first battle, aside from the additional blood that was digitally removed from the theatrical version, numerous quick shots have been added. These include: Picts dragging Romans off their horses and killing them; a Pict slashing at a horse with his sword, causing it to fall; a Pict decapitating a soldier and holding his head aloft, only to be beheaded himself from behind; a Pict hit with an arrow; a Pict impaled on a spear; a Pict hit in the back with an arrow whilst trying to get to the Bishop; a scene of a Pict being hit in the eye with an arrow; a scene of Lancelot (Ioan Gruffudd) decapitating a Pict by using his swords like a scissors; a scene of Bors (Ray Winstone) fighting with his 'gloved knives'; a scene of Bors stabbing a Pict in the throat.
- after the battle, in the theatrical version, the fake bishop (Bosco Hogan) has an arrow in his chest; in the Director's Cut, it is in his head.
- a scene where the knights approach the real Germanius (Ivano Marescotti) with their weapons drawn, before realizing that all is well and sheathing them.
- the conversation between Germanius and Arthur (Clive Owen) is longer.
- a scene of the knights toasting their fallen comrades at the Round Table.
- a scene where Germanius visits the knights as they prepare to leave, and they show him their disapproval of the mission.
- the Director's Cut does not contain the scene where the knights sit around a camp fire talking about their prospective lives in Sarmatia.
- a scene where some dead soldiers are found on the side of the road.
- a conversation between Lancelot and Guinevere (Keira Knightley) about England and the weather.
- another conversation between Lancelot and Guinevere, this time at night, where they discuss family and faith. The scene ends with Lancelot telling her he would have left her in the dungeon.
- the first conversation between Merlin (Stephen Dillane) and Arthur has been edited differently with different takes used.
- an aerial shot of Hadrian's Wall
- a scene where Dagonet (Ray Stevenson) is buried.
- a scene of Bors sitting at Dagonet's grave, getting drunk.
- the sex scene between Guinevere and Arthur is in a different place in both versions of the film. In the theatrical version, Arthur is seen in full battle armor, examining the broken image of Pelagius, when he is alerted that the Saxons are heading towards Hadrian's Wall. He runs outside, but when he appears, he is hastily putting on his shirt, and his hair is disheveled, thus creating something of a continuity error. The sex scene follows this scene. In the Director's Cut however, after the conversation between Arthur and Guinevere where they discuss his morality, they begin to have sex only to be interrupted with the news of the Saxons. The scene then cuts to Arthur appearing on the wall, putting on his shirt. As such, the scene where he is examining Pelagius's image is absent from the Director's Cut. The scenes have been edited together differently as well, with the sex scene in the Director's Cut being slightly longer than the theatrical version.
- a scene where Cynric (Til Schweiger) is demoted for his failure during the ice battle. His frustration is much to Cerdic's (Stellan Skarsgård) amusement.
- a scene of the knights leaving Hadrian's Wall amidst hundreds of small fires set by the Saxons.
- the scene of the confused Saxons in the fog is longer, with more Saxons being chopped down, including one having his arm severed.
- the scene of the sole Saxon survivor (Joe McKinney) running back to the Saxons is longer.
- during the final battle, aside from the additional blood that was digitally removed from the theatrical version, numerous quick shots have been added. These include: a scene of a Saxon impaled by an ax in his chest; a scene of Guinevere stabbing a fallen adversary; a scene of a Saxon being stabbed in the throat; a scene of Guinevere stabbing a Saxon in his crotch; a scene of Arthur ramming his sword into a Saxon's throat; a scene of Gawain (Joel Edgerton) being shot in the chest with an arrow and pulling it out; the scene of several female warriors overpowering a Saxon is much longer and more violent as the women begin to literally tear him to pieces; a scene of Tristan (Mads Mikkelsen) slowly approaching Cerdic; a scene of Bors being stabbed in the back but continuing to fight; a scene of Ganis (Charlie Creed-Miles) fighting a Saxon inside the Wall; a scene where a Saxon is stabbed in the face; the battle between Tristan and Cerdic is longer and more graphic; the scene of Lancelot being wounded is in slow motion; the scene of Cerdic's death is longer and includes a new conclusion where he and Lancelot crawl towards one another and Lancelot stabs him through the throat; the fight between Cerdic and Arthur is slightly longer, with Arthur stabbing Cerdic a final time after Cerdic has whispered Arthur's name.
- ConnectionsFeatured in Siskel & Ebert: King Arthur/Sleepover/America's Heart & Soul (2004)
- SoundtracksAmergin's Invocation
Composed by Lisa Gerrard & Patrick Cassidy
Courtesy of Sony/ATV Music Publishing (Australia)
Featured review
But this movie is anything but misunderstood. The beautiful scenery and brooding atmosphere don't make up for the poor writing and formulaic plot.
Clive Owen is great. He's a subtle, powerful actor. His eyes alone are capable of showing strength, experience, sorrow, and amazement, all at once.
He epitomizes the strong, silent type. No one better to be cast as the legendary King Arthur. His character arc is one of the only believable aspects of the film. I owe it mostly to Owen's nuanced performance, as the writing unfortunately does not support him adequately.
According to the script, Arthur's allegiance to Rome is fueled, not by his love of the military, but rather his love of Roman philosophy. Apparently this love informs his compassionate approach as a leader, and turns his loyalties further away from Rome. But this motivation is only given cursory explanation. Repeatedly, Arthur shouts out, 'This is for freedom,' or 'We are all equal.' Even though his passion is believable, we never learn much more about the reasoning behind these generalized statements.
Guinevere, played by Keira Knightly, is given some 'girl power' as a rebellious pagan, capable of fighting with the men. But her story is undermined by her laughable romance with Arthur. True to formula, Arthur 'rescues,' her, and within minutes her attempts at seduction begin. Happily this is undercut by a shift in the plot involving fellow rebel 'Merlin,' but unfortunately this part of the story is also under-written. We are given no information about Guinevere's connection to Merlin, especially considering the character's young age. Knightly is barely 20, and it shows. This is nothing remarkable by Hollywood standards, but her performance shows a lack of life experience.
Costume and make-up choices for Guinevere were equally laughable; she wears full glamour makeup for the majority of the picture. Later she appears in the costumer's interpretation of pagan warrior garb (a few leather straps and some blue face paint), which is equally unbelievable as effective coverage for battle.
The formulaic screenwriting undermines the supporting cast of knights as well. It uses the typical action film technique of giving each knight their obligatory character highlight, or sympathetic moment, so we can be sure to spot them when they fall.
In triumphant moments, the underdeveloped theme of 'freedom' returns. Considering England's history, this so-called freedom would be in question for centuries to come. It would have been far more interesting to see how Arthur actually united England in the years that followed. Unfortunately this film instead shows Arthur massacring many Britons, spouting this 'talking point' as an afterthought.
I was really disappointed, given the claim about historical accuracy. For an hour and forty minute film, too much time given to battle scenes (which, apart from one scene on ice, were not very memorable). Not enough time was spent fleshing out the script. Or to be fair, perhaps those parts of the script ended up on the cutting room floor. But you could get just as much out of watching the previews of this movie; there's just not much more to it. If you're a fan of Clive Owen, then by all means... But otherwise, don't waste your time.
Clive Owen is great. He's a subtle, powerful actor. His eyes alone are capable of showing strength, experience, sorrow, and amazement, all at once.
He epitomizes the strong, silent type. No one better to be cast as the legendary King Arthur. His character arc is one of the only believable aspects of the film. I owe it mostly to Owen's nuanced performance, as the writing unfortunately does not support him adequately.
According to the script, Arthur's allegiance to Rome is fueled, not by his love of the military, but rather his love of Roman philosophy. Apparently this love informs his compassionate approach as a leader, and turns his loyalties further away from Rome. But this motivation is only given cursory explanation. Repeatedly, Arthur shouts out, 'This is for freedom,' or 'We are all equal.' Even though his passion is believable, we never learn much more about the reasoning behind these generalized statements.
Guinevere, played by Keira Knightly, is given some 'girl power' as a rebellious pagan, capable of fighting with the men. But her story is undermined by her laughable romance with Arthur. True to formula, Arthur 'rescues,' her, and within minutes her attempts at seduction begin. Happily this is undercut by a shift in the plot involving fellow rebel 'Merlin,' but unfortunately this part of the story is also under-written. We are given no information about Guinevere's connection to Merlin, especially considering the character's young age. Knightly is barely 20, and it shows. This is nothing remarkable by Hollywood standards, but her performance shows a lack of life experience.
Costume and make-up choices for Guinevere were equally laughable; she wears full glamour makeup for the majority of the picture. Later she appears in the costumer's interpretation of pagan warrior garb (a few leather straps and some blue face paint), which is equally unbelievable as effective coverage for battle.
The formulaic screenwriting undermines the supporting cast of knights as well. It uses the typical action film technique of giving each knight their obligatory character highlight, or sympathetic moment, so we can be sure to spot them when they fall.
In triumphant moments, the underdeveloped theme of 'freedom' returns. Considering England's history, this so-called freedom would be in question for centuries to come. It would have been far more interesting to see how Arthur actually united England in the years that followed. Unfortunately this film instead shows Arthur massacring many Britons, spouting this 'talking point' as an afterthought.
I was really disappointed, given the claim about historical accuracy. For an hour and forty minute film, too much time given to battle scenes (which, apart from one scene on ice, were not very memorable). Not enough time was spent fleshing out the script. Or to be fair, perhaps those parts of the script ended up on the cutting room floor. But you could get just as much out of watching the previews of this movie; there's just not much more to it. If you're a fan of Clive Owen, then by all means... But otherwise, don't waste your time.
- wendybee33
- Jul 8, 2004
- Permalink
Details
- Release date
- Countries of origin
- Languages
- Also known as
- Rey Arturo
- Filming locations
- Ballymore Eustace, County Kildare, Ireland(Hadrians Wall / Fortress)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $120,000,000 (estimated)
- Gross US & Canada
- $51,882,244
- Opening weekend US & Canada
- $15,193,907
- Jul 11, 2004
- Gross worldwide
- $203,567,857
- Runtime2 hours 6 minutes
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
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