In the dimly lit alleys of the silver screen, there’s a neon sign flickering – pointing to the world of the Middle Ages. It’s a place where honor ain’t just a word, its a lifeline; where knights, kings, and saints rub elbows with rogues, and every shadow hides a story.
For those who’ve got a soft spot for chivalry, treachery, and tales as old as time, the cinematic world has been serving up medieval tales on a silver platter. Lace up your boots, tip your fedora, adjust your hidden chainmail and join me as we navigates through the top films that capture the essence of an age gone by, with all its grandeur and grits.
The Passion of Joan of Arc (1928): This tale, my friend, it’s one for the ages. Falconetti’s Joan, she’s a silent force, a storm brewing in the quiet. Her eyes, they tell tales of faith, sacrifice, and the cost of integrity. This courtroom drama’s the real deal, with a saint taking the stand, and you’re left hanging onto her every silent word. Now, I know this is not the kind of movie you’re used to, but sometimes we need to make sacrifices in order to feed that inner demon.
The Seventh Seal (1957): Bergman’s masterpiece takes you down a lane where every step’s a dance with death. Von Sydow’s knight, he’s juggling life’s enigmas while the Grim Reaper waits, ever patient. It’s not just about a game of chess, it’s an exploration, a deep dive into life, death, and the spaces in between. Now, this is one of my favorite movies, because it is somehow touching bases on both the medieval and the noir. As long as you see it as an allegory.
A Man for All Seasons (1966): In a world where kings thinks they’re gods and loyalty’s a rare thing to find, Scofield dazzles as Sir Thomas More – a man of ironclad principles in a treacherous, winding court. He’s caught in a game of chess (look, I didn’t know we had a pattern) where the board shifts constantly, stakes being his very life and the sanctity of his soul. The cinematography? As crisp as a fresh dollar bill, and the drama unfolds with the intensity of a courtroom cross-examination.
Becket (1964): When church bells toll against the crown’s might, you know you’re in for a treat. O’Toole and Burton, they clash and parry, with divine duty and kingly authority weighing heavy. Loyalties, like sands, shift underfoot, making every move a gamble, and trust becomes a rare gem. This is one of the very first movies I saw at the cinema and it did leave a lasting impression. It was the work of those two great actors, but I have to say that O’Toole was one step above Burton. And he stayed there for a while.
The Lion in Winter (1968): Alright, here’s the dish. It might be Christmas, but this ain’t no warm and fuzzy family get-together. O’Toole (again!) and Hepburn, playing Henry II and Eleanor, they go toe-to-toe, their words as sharp as daggers. Within the cold palace walls, it’s a showdown of wits, wills, and sheer determination, with hidden agendas peeking from every corner. Now, this is ’68, medieval movies are something different and not at all bad. I love this intermingling, this search for the soul of the Middle Ages, not for the blades and the spearpoints of those times.
Ladyhawke (1985): Love’s a gamble, especially when the dice are cursed. Hauer and Pfeiffer, they’re bound by a twist of fate, separated by the very fabric of day and night. It’s a world where magic ain’t just tales by the fireside; it’s real, tangible, and it might just be the death of you. I love Rutger Hauer and it is because of this movie and because of his part in Blade Runner (which is an awesome neo-futuristic-noir). But in this movie, he managed to portray not the historical knight, but the dream of a knight. He is made of stories, and that is splendid.
The Name of the Rose (1986): Picture this: a fog-wrapped abbey with secrets buried deeper than a mob informant. Monks are dropping faster than lead balloons, and here comes Sean Connery, with his accent and his eyes and his… Alright. He ain’t just donning the monk robes; he’s on a mission, sniffing out truths in a place where silence is golden. This labyrinth of forbidden knowledge and cloistered mysteries will pull you in, but don’t say I didn’t warn ya. Of course, this is just one more title on the list of Medieval Noir movies. Hold on, we’re gonna write a review on it soon enough.
Braveheart (1995): The cobblestone streets of medieval Scotland ain’t for the faint of heart. Blood, sweat, and tears seep into every nook and cranny. Gibson’s William Wallace, he’s got that fire, an undying passion for love and a free Scotland. Historical bits might play loose, but the raw energy? It packs a punch, knocking the wind right outta ya. I mean, I’m not the kind of guy who gives up on historical accuracy, but this movie? It is well made, characters stand out and this is a story about an idea, not a story about a man. I think Mel Gibson fucked up when it came to the truth in history, but he put together an awesome movie.
The Messenger: The Story of Joan of Arc (1999): Besson’s vision is a kaleidoscope – vivid, intense, and unapologetic. Jovovich’s Joan, she’s a spark in the darkness, a symbol of hope in a fractured France. The battles, both on fields and in the mind, are raw and unfiltered, questioning sanity, faith, and the very essence of divine calling. So here we have the essence of raw trouble brought forward by religion. Indeed, we have everything on our fingertips and Besson is a badass, but we really have to grasp this movie and understand that the woman in the middle of everything is just a scapegoat, but one that rallied the French and beat up the English just by being there.
Kingdom of Heaven (2005): The Crusades were no picnic, kid. Imagine a desert storm of steel, faith, and bloodlust. Our main man’s a blacksmith-turned-knight, trudging through sand and chaos, finding fragments of his soul scattered in the winds of war. Ridley Scott paints a canvas, both stunning and haunting, as moral lines blur and alliances shift. And yeah, you got Legolas in the middle of it all, but he is a simple guy who wants to do good. But this movie? Yeah, it has a lot of cool moments and a lot of great scenes. And only half of them are awesome because of the guys in Jerusalem. The rest? Well, let’s say that Saladin owns the place.
The Pillars of the Earth (2010): Oh, you will love this one. Dive deep into the heart of 12th-century England, and you’ll stumble upon the town of Kingsbridge. It ain’t just the stone and mortar that tell its tale; it’s the ambition, treachery, and resilience of its people. This miniseries, adapted from Ken Follett’s epic tome, takes you on a roller-coaster through a land ravaged by war and power struggles. At the epicenter, there’s the dream of a cathedral, a beacon of hope amidst the darkness. But like any sprawling tale worth its salt, there’s more lurking below the surface – love entanglements, political schemes, and sacrifices that ask the age-old question: How far would you go for your dreams?
The Last Kingdom (2015-2019): Dive into an age where legends are forged in the heart of conflicts. Uhtred’s journey, it’s one of torn allegiances, homes lost and reclaimed, amidst a backdrop of clashing kingdoms. Every episode’s a tapestry of fierce battles, cunning strategies, and characters that live and breathe the era’s ethos. But you know something? This series is one of a kind. Behind it is Bernard Cornwell, he’s the author and the man knows how to build a story. Of course, we have a tale that might be a bit ludicrous, but that doesn’t matter. The only thing that matters is: is this story worthwhile? Yes, it is.
So, there you has it, friend. A lineup of tales where steel meets flesh, faith challenges power, and legends is born in the crucible of conflict. These flicks don’t just recreate the Middle Ages – they breathes life into ’em. From the dim corridors of power to the muddy battlefields, they’ve captured the essence, the drama, the passion of a bygone era. For any dame or gent keen on diving into a world of medieval intrigue, these films are your first-class ticket. Tip your hat, light a cig, and let the credits roll.
