King Arthur: Legend of Film & Literature
My Movie Review
The other day, while I was browsing around in a local Best Buy, I came across a movie that I hadn’t seen in many years. As I picked Monty Python and the Holy Grail off the shelf, I instantly remembered it as being one of the movies on our class’s must-see list, and then my consequent desire to watch this one particular movie again. Well here it was, in all its glory, resting in my hands and begging me to buy it. I examined the movie’s case a little more closely: Monty Python and the Holy Grail, starring Graham Chapman, John Cleese, Eric Idle, and Michael Palin; directed by Terry Gilliam and Terry Jones; and released in 1974. Wow, this movie couldn’t have been released that long ago; but then again, I hadn’t watched it since I was a kid. Now that I’m a huge medieval literature fan and all grown up, I thought I could surely find deeper appreciation for Monty Python’s comic portrayal of the medieval world. Perhaps, I might even discover some funny references to medieval literature. Needless to say, I was sold on the spot and had to buy this movie at once.
After taking Monty Python and the Holy Grail home and watching it, I found myself pleasantly surprised as well as captivated by its funny, yet witty portrayal of King Arthur and the medieval world in which he lived. The movie presents itself as a work of “big screen” literature by separating the scenes into episodes, and then arranging them into story book chapters which are displayed throughout the film. Each of the movie scenes, or chapters, alludes to different literary themes characteristic of medieval literature and Arthurian lore. The most prevalent themes in the movie include details of courtly love; the influence of religion in everyday life; the absurdity of the witch trials; the mixture of pagan mythology with Christianity; and the popularity of minstrels, bards, and ballads. In my medieval literature class, I learned that much of medieval literature is episodic in nature. I really enjoyed watching the ways in which Monty Python brilliantly plays upon this episodic concept throughout the movie.
A good example of how Monty Python alludes to medieval literary convention surrounding Arthurian legend comes from the movie’s portrayal of courtly love. The theme of courtly love is primarily a literary convention to describe the romantic courtship rituals often observed by nobles in attendance to the king’s court. One of the pervasive elements of courtly love involves acts of illicit love and forbidden romance which is kept highly secret between the two lovers. Oftentimes a lonely knight wanders off and stumbles across the seductively beautiful Fairy Queen and then falls helplessly in love with her (Marie De France). There are also stories in which Guinevere attempts to seduce bachelor knights into sleeping with her. In fact, Guinevere’s love affairs with Sir Lancelot and others ultimately bring about the destruction of Camelot and the Round Table (Morte d’Arthur). In other tales not relating to King Arthur, there are examples of royals having secret lovers on the side due to their forced marriages to other royalty.
Monty Python has two really good scenes depicting the theme of courtly love from a humorous perspective. The first scene comes from the tale of Sir Galahad and his arduous trip in which he stumbles upon the Castle Anthrax. This castle seems to be mysteriously secluded in the middle of the woods. It is dilapidated and run-down, giving a foreboding appearance which travelers should avoid. None the less, it is storming outside and Sir Galahad is being pursued by a pack of wolves so he has no other option. Once inside, he finds himself surrounded by scores of extremely beautiful and naughty women. Their innuendo and sexual advances are strikingly obvious, and they almost succeed in seducing him. Just in the nick of time, Galahad’s fellow knights Sir Gawain and Sir Lancelot bust in to rescue him from the ladies’ seductive agenda. In medieval English literature, there are several stories in which the fairies, and the Fairy Queen, target lonely knights for seduction. These beings often times lurk in the woods to catch wandering knights during their weakest moments. Also, fairy maidens are commonly described as having supernatural or other-worldly beauty which is hard for men to resist. Monty Python’s Sir Galahad scene does a brilliantly comical job of portraying how chaste knights often ran into trouble when left to the naughty wiles of these fairy women.
The second scene depicting medieval courtly love in the movie is portrayed through the action packed, yet comical portrayal of Sir Lancelot’s tale. While traveling through the forest, Lancelot (or rather his Paige Concord) receives a note tied to an arrow. He quickly assumes the note came from a damsel in distress of whom he must honorably save. Only after brutally fighting his way to the castle’s tower does Lancelot realize that his damsel is in fact a prince named Herbert. This prince sent out the distress note because of his anxiety over his father forcefully marrying him to Lucky, a rather unattractive princess. Herbert was hoping that someone would rescue him from the unwelcomed marriage. Undesirable marriages were commonplace amongst medieval and renaissance nobility. These marriages were more for the family’s interests in gaining land, financial stability, and power instead of for the purpose of love and companionship. Instead of trying to run away from their chosen spouse, these royals would take on courtly lovers on the side. The movie plays upon this notion, but stages it in a really funny and understandable manner.
The modern insights and comical displays found in watching Monty Python and the Holy Grail are actually rather significant. This movie offers a great example of how literature evolves over time in order to fit the changing needs of society and culture. Monty Python’s modern audience generally would not perceive humor, suspense, or heroic acts in the same way as the medieval or renaissance audience. Therefore, in order to create a connection between old medieval literature and the crowd he expected to watch their movie, Monty Python had to add new elements. This same modern twist can be observed in the many other Arthurian based movies, like the one starring Sean Connery. Even movies like Braveheart and 300 have a modern twist to them. Modern rendition of the outdated literary conventions found in medieval literature, and literature from other ancient periods for that matter, is vital because it provides the means of which these legends are able remain alive in our hearts and minds. Although Monty Python and the Holy Grail is portrayed as a comedy, even farcical at times, it assumes the role of living literature in that it bridges the gap between our present cultural understanding and the original primary text. Without such movies, the legends of old would have long been forgotten.
We have observed this evolution of literature and film, from the Romantics to the Modern, in our own survey of British literature class. One such example can be found by investigating how writer’s views towards nature have changed over time. In his Lines, written from Tintern Abbey, the Romantics poet Wordsworth describes nature as a supernatural and powerful entity of which man cannot avoid. He writes as if humans are subjugated by nature’s divine will. Over time this perspective changed rather dramatically; and by the time we arrive to Dylan Thomas’ Fern Hill, we see a whole different outlook. While Thomas recalls really enjoying nature as a child, he seems to have a sense of personal power over nature. He is able to romp and recklessly roam about the fields and trees as he pleases. I do enjoy reading some of Wordsworth’s poetry, but I feel a closer connection to Fern Hill. As a kid myself, I remember enjoying the great outdoors as an endless playground. I ran in the woods, built forts, and felt as if I were king over all that was around me. The subtle, yet important changes in literary perspective help to maintain connections with the culture and understanding of the audience. That is why I feel a deeper personal tie to Thomas’ poetry than to the poetry of Wordsworth. I believe this same concept supports Monty Python and the Holy Grail over the original Morte d’Arthur.
Actually, the movie quietly reveals that Monty Python understands this concept of literary evolution. In the opening scene of the movie, we see the date “932 AD” displayed in large letters. At first glance this date seems rather absurd and only adds to the comical effect. This is mainly because King Arthur existed around the fifth century, the Black Death struck Europe in the mid fourteenth century, and the witch trials mainly took place during the fifteenth and sixteenth centuries. After delving beneath the surface a little, I began to realize that Monty Python was sending the message that these events are really timeless. The specific dates and events do not really matter if they are merely left to be forgotten. By blatantly mixing the dates together, Monty Python is observing literary tradition in that it must always change and adapt to the needs of the audience.
I have come to really enjoy and appreciate the brilliant insight displayed throughout the entirety of Monty Python and the Holy Grail. The movie equally accomplishes the tasks of entertaining the audience as well as capturing the essences of different literary works written during the medieval era. I gladly give this movie two thumps up and a five star rating. Any medieval enthusiast, who has not yet taken the opportunity to watch this movie, should do so at their next opportunity.
My Movie Review
The other day, while I was browsing around in a local Best Buy, I came across a movie that I hadn’t seen in many years. As I picked Monty Python and the Holy Grail off the shelf, I instantly remembered it as being one of the movies on our class’s must-see list, and then my consequent desire to watch this one particular movie again. Well here it was, in all its glory, resting in my hands and begging me to buy it. I examined the movie’s case a little more closely: Monty Python and the Holy Grail, starring Graham Chapman, John Cleese, Eric Idle, and Michael Palin; directed by Terry Gilliam and Terry Jones; and released in 1974. Wow, this movie couldn’t have been released that long ago; but then again, I hadn’t watched it since I was a kid. Now that I’m a huge medieval literature fan and all grown up, I thought I could surely find deeper appreciation for Monty Python’s comic portrayal of the medieval world. Perhaps, I might even discover some funny references to medieval literature. Needless to say, I was sold on the spot and had to buy this movie at once.
After taking Monty Python and the Holy Grail home and watching it, I found myself pleasantly surprised as well as captivated by its funny, yet witty portrayal of King Arthur and the medieval world in which he lived. The movie presents itself as a work of “big screen” literature by separating the scenes into episodes, and then arranging them into story book chapters which are displayed throughout the film. Each of the movie scenes, or chapters, alludes to different literary themes characteristic of medieval literature and Arthurian lore. The most prevalent themes in the movie include details of courtly love; the influence of religion in everyday life; the absurdity of the witch trials; the mixture of pagan mythology with Christianity; and the popularity of minstrels, bards, and ballads. In my medieval literature class, I learned that much of medieval literature is episodic in nature. I really enjoyed watching the ways in which Monty Python brilliantly plays upon this episodic concept throughout the movie.
A good example of how Monty Python alludes to medieval literary convention surrounding Arthurian legend comes from the movie’s portrayal of courtly love. The theme of courtly love is primarily a literary convention to describe the romantic courtship rituals often observed by nobles in attendance to the king’s court. One of the pervasive elements of courtly love involves acts of illicit love and forbidden romance which is kept highly secret between the two lovers. Oftentimes a lonely knight wanders off and stumbles across the seductively beautiful Fairy Queen and then falls helplessly in love with her (Marie De France). There are also stories in which Guinevere attempts to seduce bachelor knights into sleeping with her. In fact, Guinevere’s love affairs with Sir Lancelot and others ultimately bring about the destruction of Camelot and the Round Table (Morte d’Arthur). In other tales not relating to King Arthur, there are examples of royals having secret lovers on the side due to their forced marriages to other royalty.
Monty Python has two really good scenes depicting the theme of courtly love from a humorous perspective. The first scene comes from the tale of Sir Galahad and his arduous trip in which he stumbles upon the Castle Anthrax. This castle seems to be mysteriously secluded in the middle of the woods. It is dilapidated and run-down, giving a foreboding appearance which travelers should avoid. None the less, it is storming outside and Sir Galahad is being pursued by a pack of wolves so he has no other option. Once inside, he finds himself surrounded by scores of extremely beautiful and naughty women. Their innuendo and sexual advances are strikingly obvious, and they almost succeed in seducing him. Just in the nick of time, Galahad’s fellow knights Sir Gawain and Sir Lancelot bust in to rescue him from the ladies’ seductive agenda. In medieval English literature, there are several stories in which the fairies, and the Fairy Queen, target lonely knights for seduction. These beings often times lurk in the woods to catch wandering knights during their weakest moments. Also, fairy maidens are commonly described as having supernatural or other-worldly beauty which is hard for men to resist. Monty Python’s Sir Galahad scene does a brilliantly comical job of portraying how chaste knights often ran into trouble when left to the naughty wiles of these fairy women.
The second scene depicting medieval courtly love in the movie is portrayed through the action packed, yet comical portrayal of Sir Lancelot’s tale. While traveling through the forest, Lancelot (or rather his Paige Concord) receives a note tied to an arrow. He quickly assumes the note came from a damsel in distress of whom he must honorably save. Only after brutally fighting his way to the castle’s tower does Lancelot realize that his damsel is in fact a prince named Herbert. This prince sent out the distress note because of his anxiety over his father forcefully marrying him to Lucky, a rather unattractive princess. Herbert was hoping that someone would rescue him from the unwelcomed marriage. Undesirable marriages were commonplace amongst medieval and renaissance nobility. These marriages were more for the family’s interests in gaining land, financial stability, and power instead of for the purpose of love and companionship. Instead of trying to run away from their chosen spouse, these royals would take on courtly lovers on the side. The movie plays upon this notion, but stages it in a really funny and understandable manner.
The modern insights and comical displays found in watching Monty Python and the Holy Grail are actually rather significant. This movie offers a great example of how literature evolves over time in order to fit the changing needs of society and culture. Monty Python’s modern audience generally would not perceive humor, suspense, or heroic acts in the same way as the medieval or renaissance audience. Therefore, in order to create a connection between old medieval literature and the crowd he expected to watch their movie, Monty Python had to add new elements. This same modern twist can be observed in the many other Arthurian based movies, like the one starring Sean Connery. Even movies like Braveheart and 300 have a modern twist to them. Modern rendition of the outdated literary conventions found in medieval literature, and literature from other ancient periods for that matter, is vital because it provides the means of which these legends are able remain alive in our hearts and minds. Although Monty Python and the Holy Grail is portrayed as a comedy, even farcical at times, it assumes the role of living literature in that it bridges the gap between our present cultural understanding and the original primary text. Without such movies, the legends of old would have long been forgotten.
We have observed this evolution of literature and film, from the Romantics to the Modern, in our own survey of British literature class. One such example can be found by investigating how writer’s views towards nature have changed over time. In his Lines, written from Tintern Abbey, the Romantics poet Wordsworth describes nature as a supernatural and powerful entity of which man cannot avoid. He writes as if humans are subjugated by nature’s divine will. Over time this perspective changed rather dramatically; and by the time we arrive to Dylan Thomas’ Fern Hill, we see a whole different outlook. While Thomas recalls really enjoying nature as a child, he seems to have a sense of personal power over nature. He is able to romp and recklessly roam about the fields and trees as he pleases. I do enjoy reading some of Wordsworth’s poetry, but I feel a closer connection to Fern Hill. As a kid myself, I remember enjoying the great outdoors as an endless playground. I ran in the woods, built forts, and felt as if I were king over all that was around me. The subtle, yet important changes in literary perspective help to maintain connections with the culture and understanding of the audience. That is why I feel a deeper personal tie to Thomas’ poetry than to the poetry of Wordsworth. I believe this same concept supports Monty Python and the Holy Grail over the original Morte d’Arthur.
Actually, the movie quietly reveals that Monty Python understands this concept of literary evolution. In the opening scene of the movie, we see the date “932 AD” displayed in large letters. At first glance this date seems rather absurd and only adds to the comical effect. This is mainly because King Arthur existed around the fifth century, the Black Death struck Europe in the mid fourteenth century, and the witch trials mainly took place during the fifteenth and sixteenth centuries. After delving beneath the surface a little, I began to realize that Monty Python was sending the message that these events are really timeless. The specific dates and events do not really matter if they are merely left to be forgotten. By blatantly mixing the dates together, Monty Python is observing literary tradition in that it must always change and adapt to the needs of the audience.
I have come to really enjoy and appreciate the brilliant insight displayed throughout the entirety of Monty Python and the Holy Grail. The movie equally accomplishes the tasks of entertaining the audience as well as capturing the essences of different literary works written during the medieval era. I gladly give this movie two thumps up and a five star rating. Any medieval enthusiast, who has not yet taken the opportunity to watch this movie, should do so at their next opportunity.