Netflix once again honors fans of castles, pitched battles, and sweet flutes by betting on a spiritual successor to The Legitimate King , 2018. The King is based on Shakespeare plays and bears the charge of being yet another work among so many. others have gained adaptations to TV, theater and cinema over the years. Within the seventh art we can underline the namesakes Henry V , from 1944 and 1989, which brought a more epic view of what was the reign of Henry. In the 2019 narrative, the events are abbreviated to focus on the protagonist's rise and particularities, recalling, in part, what was reproduced in Steve Jobs , 2016.
In the plot, rebel Henry V is treated as a bastard and leads a life of binges, until his father and brother are better off, and wearing the crown is inevitable to defend England's fate in the face of external threats. Who directs the film is Australian David Michôd, responsible for reasonable War Machine and The Rover . In The King , however, the director shows maturity in the way he orchestrates all the elements, and we have a sober adaptation, provided with an excellent script, but not without leaving sloppiness in certain resolutions.
In the distant 2h20, the viewer is introduced to a gray and melancholy fifteenth century that is reflected in the dramatic and well-constructed dialogues thanks to the Shakespearean touch. Battles, in turn, dispense with the epic vanity: no slow motionsor mega elaborated choreographies. Everything here is dirty, derogatory, heavy; that is, made to show how infamous barbarism is in a war. There is also an "extension" on military strategy and political play. The film puts the viewer in a chess where it is possible to feel with the crown members during the elaboration of each plan or decision making. The problem is present at the turning points that drive the motivations. The director simply sews these moments on an individual basis and gets the feeling that everything was done on the basis of improvisation or even laziness.
Timothée Chalamet ( Call Me By Her Name ) once again plays a brilliant role and has established herself as one of today's most talented actors. His Henry V is mocking, skeptical, resentful, constructive and embittered by ideological disagreements with his father, Henry IV (Ben Mendelsohn). The focus of the feature is solely on him, and this decision confiscates the presence of the other cast members. It is worth mentioning here the insight and companionship of Falstaff (Joel Edgerton), who is the mind behind battle tactics. There is a scene of him that is a true war class.
Sean Harris is in the skin of operant William, playing the typical adviser who guides the king and hides obscure intentions. Robert Pattinson, the future big-screen Batman, in turn, shows that he is talented and incorporates a competent Delfim, even with a loaded but functional French accent. Finally, Catherine de Valois, experienced by Lily-Rose Depp, even though she is a trick in the plot, makes a good final appearance, deserving much more screen time.
The King is private and is exempt from presenting a revolutionary view of the medieval genre, nor is he concerned with strictly following or deconstructing Shakespeare within his field of creative freedom. But it is mature and sincere in reproducing a realistic narrative of what was considered one of the darkest periods in our history. Chalamet delivers an excellent Henry V to the public and may deservedly win an Oscar nomination.
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