The King
2019 · Directed by David Michôd
Original language: English
- drama
- history
- war
The story
England, 15th century. Hal, a capricious prince who lives among the populace far from court, is forced by circumstances to reluctantly accept the throne and become Henry V.
What it’s like
Muddy, rain-soaked English landscapes and mud-caked armour give this one a grimy, earthbound look, with a palette of bruised greens, ash greys and smoky browns lit mostly by torchlight, candle flame and overcast daylight. Its camera tends toward handheld closeness during the tavern and camp scenes and then pulls back to wide, wind-scoured fields and stone courts, so the frame keeps shifting between intimacy and scale. The score is percussive and drone-heavy, with war drums and low strings that swell in battle and drop out into near-silence in quieter exchanges. The vibe is grimy, melancholic and wry, a sour-humoured costume drama with some bite. It suits a late-night watch or a weekend afternoon when you want something gritty rather than stately. Pacing is brisk and talky, with long stretches of banter between a restless young man and the older, cynical figures who shape him, and his arc moves from careless irreverence toward reluctant responsibility. Violence is real and frequent: battlefield combat and killings are shown in bloody, close, unglamorous detail, with some graphic wounds, and there is coarse language and sexual innuendo, though the cruelty is more sustained than gratuitous. It is for viewers who like historical drama with a rough edge, sharp dialogue and a bleak sense of humour, and who can handle brutal war scenes.
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