The choreography of how they talk is incredibly exhilarating, almost as if they are fighting with their swords.
David Michod, the co-writer and director, has a non-violent approach to this infamous story about war and betrayal. Neither does it come off mature nor pretentious. But what it is, is that it is really smart for its age, for its runtime, for its era that it speaks about. And these snippets of wittiness gives us enough sugar, energy to run on our own. And some might argue that these antic alike wins in a game that might not usually be perceived as a game, are not enough to make us compromise and sit through when these characters mourn or exhale continuously. But actually, this very pathos is what gives us power, them rage and purpose to stand up against the general consensus.
Everyone wants to prove that they are special. And the ones observing this era go passing by and I mean the elders, the sophisticated counsellors and not the audience. They are the ones that would be heading in the other direction. And that is how you they and you weigh in the characters and their importance. There is nothing humbling but definitely righteous to see the crux, the friendship between Joel Edgerton and Timothee Chalamet spiral out in the form of a father and a son.
And a father and a son is more appropriate title than say teacher and a student. Not that they don’t learn from each other or that there is no emotion flowing between them but along with all the education that they need, they are also in desperate pursuit of a father and a son. This tied up promise, unsaid promise, is frankly beautiful. The King is smart, the people guiding him are, the people following him are, the people fighting him are. So the people watching and experiencing them better be.