Have we reached a point where “medieval” has become a brand in itself?
Time to shine a light on the half-forgotten and flawed gem from 1965 that is The War Lord.
Taking a look back at the 1952 classic movie, Ivanhoe.
It’s an excellent time to revisit one of my all-time favorite ‘80s swords-and-sorcery films: 1988’s Willow, starring Warwick Davis as the titular character.
Disney’s work has never been value-neutral … and some of the messages it conveyed in the past, and of the past, were downright toxic.
This week on The Medieval Podcast, Danièle and Peter Konieczny give their takes on Hollywood’s latest foray into medieval movie-making: The Northman.
Robert Eggers’ take on the Norse tale of Prince Amleth may offer movie-goers some impressive visuals and historically-accurate details, but ultimately it is another bleak and bloody view of the Vikings.
El Cid was released in 1961 at the absolute zenith of the historical epics’ reign in Hollywood.
The Adventures of Robin Hood’s bold and ambitiously realised aesthetics, iconography, and set pieces have caught the eye and fired the imagination of many imitators.
Directed by Anthony Harvey and released in 1968, The Lion in Winter is an intimate and visceral depiction of a fictionalized Christmas court held by Henry II following this clash and the death of his heir apparent.
The latest medieval movie has just dropped into theatres, and that means that Danièle was first in line with Peter Konieczny to bring you the goods. This week on The Medieval Podcast, they discuss Ridley Scott’s The Last Duel, starring Jodie Comer, Matt Damon, Ben Affleck, and Adam Driver.
I must admit: I was very nervous to see The Last Duel.
Eric Jager, author of The Last Duel, gives the inside story of how his book was turned into a major Hollywood movie.
A new documentary follows the lives of women who fight in an extreme and full-contact sport, Medieval Armored Combat. This week, Danièle talks with filmmaker Adrian Cicerone about Steel Song.
A conversation with Buket Bayrı about Turkish films that prominently feature Byzantine characters and settings, especially the films about Battal Gazi.
The Green Knight has just been released in the cinemas. This week on The Medieval Podcast, Danièle is joined by Peter Konieczny to talk about the film and how it compares to the 14th-century story Sir Gawain and the Green Knight.
For many years, medievalists have gone to the movies with the expectation that their beloved stories will be given only lip service in favour of directorial changes meant to pander to a modern audience. With The Green Knight, they are in for a surprise.
Trying to give the Arthurian legends greater credence and authenticity by locating them in a more accurate historical context.
How the story of King Arthur gets told during Hollywood’s Golden Age – the 1950s and 60s.
A look at the movie adaptions of Sir Gawain and the Green Knight, along with other media.
The legends led to expeditions in the 16th century to find the fabled fountain and their adventures, in turn, have inspired filmmakers to portray them.
There are more movies that explore these myths than those which deal with the more mundane history of the conquest itself.
The main account of Francisco Pizarro on film is actually the movie version of Peter Shaffer’s 1964 play The Royal Hunt of the Sun which explored the clash of cultures between its main characters: the last Inca Emperor, Atahualpa, and Pizarro.