Venice Film Festival 2019: THE KING

The King is Australian director David Michôd’s second film at the streaming giant Netflix, after his moderately successful Brad Pitt war comedy/drama War Machine was released in 2017 to mixed reviews. Breaking out with his independent crime drama Animal Kingdom, Michôd follows up themes of betrayal and lust for power in 15th century England with The King.

Michôd’s film follows the early reign of King Henry the V (Timothee Chalamet) as he wrestles with his inner torment of his father’s (Ben Mendelsohn) legacy, the snakes and lies that run around his company, and the torment from The Dauphin of France (Robert Pattinson) knocking at his door for war.

Chalamet Brings a Tremendous Stoic Intensity

First time in the lead for a studio film, Timothee Chalamet demands the screen in David Michôd’s film. Chalamet brings a tremendous stoic intensity entwined with an outlandish fever pitch temper – all reinforcing the actors’ tremendous range that has an artistic quality that entices and repulses given the scene. 

The character’s growth is raw and energetic. Exercised in mostly every sequence within the film, Chalamet constructs a character that has a silent spark that slowly unravels, not in madness but imposing hubris bravado. 

A snippet of a devilishly chic inspired performance from Robert Pattinson injects several larger layers to the proceedings, even if his accent will come under particular scrutiny. However, he is drastically underused; his reteaming with director Michôd after 2014’s The Rover feels slightly underwhelming. Thankfully it is the performance of Joel Edgerton as Jon Falstaff who brings a delightfully comedic and down to earth vibrancy to The King. Undoubtedly effective as a palette cleanser, Edgerton adds warmth and engagement to an otherwise dark and hard-hitting film.

A Far More Personal Take of the Shakespearian Tale

Writer-director David Michôd, with co-writer and star Joel Edgerton, craft an intimate, engaging and far more brutally honest take on the Shakespearean tale of Henry V than what has been on offer before. Exploring political agenda and systematic contradictions of policy embedded to serve those at the top and ignore those at the bottom, acts as an underbelly to the story that slowly takes shape throughout. 

The King takes a long hard look at the injustice of a corrupt system, showcasing these themes brutally in their misdeeds from both sides of the channel. The misgivings and hollow rivalry encompass and drown both leaderships that ultimately suffocate in the lust for dominance, not much different to the societal imbalances in this day in age. 

It’s Bleak, Methodical and Existential

Politics aside, when The King begins its steps of showcasing war and battle, it does so in a harsh and unromantic manner that has significant and sincere weight to it. Reinforced throughout the film that battle is the last option, Michôd does, in fact, keep his promise on the matter, only showcasing the “grandiose” moment of war in the film’s last act, almost as a last resort to end his film on this moment of magnitude rather than the political conversation he and Edgerton have installed throughout. 

Concerning the structure, the battle feels slightly misplaced within the film and ultimately lacks a strong build-up. That said the battle is gritty and incredibly bleak showcasing a horrible horror not too different from the infamous Game of Thrones episode “Battle of the Bastards”. Michôd and editor Peter Sciberras add a little bravado here and there with what is quite clearly a digitally edited long take that just about suffices.

In general, it feels like the film is excessive for the purpose of being excessive; it loses sight of the character-driven story. Some characters lack development, especially the character of Catherine performed by Lily Rose-Depp. The character is a hollow shell only there to serve Chalamet’s Henry V’s story.

The King: Conclusion

David Michôd’s The King seeks to fill the gap in a dying genre, a genre that has been waiting to be restored to glory since the days of Ridley Scott’s Kingdom of Heaven. It almost succeeds in its quest, but Michôd becomes overzealous in the final act, wanting to make his mark rather than deliver on the film that he begins with and almost succeeds in crafting. However, fabulous performances from Edgerton and Chalamet coupled with terrific cinematography cement this as a strong effort nonetheless.

What are your thoughts on The King? Let us know in the comments below!

The King will be released on Netflix on November 1st, 2019.