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King Arthur (2004)

PG-13 | | Action, Adventure, Drama | 7 July 2004 (USA)
A demystified take on the tale of King Arthur and the Knights of the Round Table.

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Cast

Cast overview, first billed only:
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Pat Kinevane ...
Ivano Marescotti ...
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Storyline

Based on a more realistic portrayal of "Arthur" than has ever been presented onscreen. The film will focus on the history and politics of the period during which Arthur ruled -- when the Roman empire collapsed and skirmishes over power broke out in outlying countries -- as opposed to the mystical elements of the tale on which past Arthur films have focused. Written by Scott Summerton

Plot Summary | Plot Synopsis

Taglines:

The Untold True Story That Inspired The Legend See more »


Motion Picture Rating (MPAA)

Rated PG-13 for intense battle sequences, a scene of sensuality and some language | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Release Date:

7 July 2004 (USA)  »

Also Known As:

King Arthur: Director's Cut  »

Box Office

Budget:

$120,000,000 (estimated)

Opening Weekend:

$15,193,907 (USA) (9 July 2004)

Gross:

$51,877,963 (USA) (8 October 2004)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

| | | (5.1) (L-R)

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

In David Franzoni's original script, the love triangle so central to the original myth between Arthur, Guinevere and Lancelot was a major part of the plot, as it is in most filmic adaptations of the Arthurian legend (such as John Boorman's Excalibur (1981) for example). However, during his research for the film, director Antoine Fuqua came to believe that there was no truth to the love triangle aspect of the story and had Franzoni rewrite the script without it. See more »

Goofs

One of the knights flies a hawk in several scenes. The hawk is a Harris' Hawk from the Americas, which had no commerce with Britain until nearly 1000 years later. See more »

Quotes

[first lines]
Lancelot: [voiceover] By 300 AD, the Roman Empire extended from Arabia to Britain. But they wanted more. More land. More peoples loyal and subservient to Rome. But no people so important as the powerful Sarmatians to the east. Thousands died on that field. And when the smoke cleared on the fourth day, the only Sarmatian soldiers left alive were members of the decimated but legendary cavalry. The Romans, impressed by their bravery and horsemanship, spared their lives. In exchange, these ...
[...]
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Crazy Credits

There are no opening credits, not even the production company and studio bumpers, only the title. See more »

Connections

Version of Camelot (1982) See more »

Soundtracks

Tell Me Now (What You See)
Written by Hans Zimmer and Maire Brennan (as Moya Brennan)
Produced by Trevor Horn and Mel Wesson
Performed by Maire Brennan (as Moya Brennan)
Courtesy of Universal Music International
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
The realism behind the magic
31 December 2004 | by (New Zealand) – See all my reviews

In recent movies coming out of Hollywood there seems to be a trend towards attempting to unveil the true character behind some of history's most mysterious individuals. With most of us having been brought up on tales of a medieval King Arthur and the magic of Camelot, it was a risk for those who initiated this movie to attempt to expose the man behind the myth, so to speak. In my opinion, through a combination of realistic battle scenes, stunning cinematography and well rounded characters this movie is successful.

This tale takes us on a journey with King Arthur's knights as they embark on a final quest for Rome. The issue of religious persecution is raised on numerous occasions in the duration of this movie and relates to contemporary circumstances where religious belief can be used as a form of power and means of superiority. Themes such as this raise the film above the average Bruckheimer production. However, the dialogue is still cliché in places, and mid-battle jokes can fall flat on audiences that have grown weary of them in films such as LORD OF THE RINGS and PIRATES OF THE CARIBBEAN. Fortunately, the battle scenes are realistic and don't bombard us with Jackie Chan like maneuvers that the knights have suddenly and inexplicably learned.

The movie is beautifully shot with a variety of landscapes ranging from Hadrian's Wall to icy snow-covered hills and peasant villages. This ensures that the audience always has something new to look at, but also paints a realistic picture of the poverty and harsh environment of the time.

My only complaint about this film would have to be that some of the acting and characterisation was a little disappointing. Clive Owen's 'Arthur' was a little internalised and predictable. While other characters, such as Lancelot (Ioan Gruffud), are fabulously flawed, Arthur is always thinking of others and making the right decisions. His humanity never falters. Owen delivers his lines woodenly and without the passion one wishes to see from such a great warrior and humanitarian. Whilst the writers have dared to put a different spin on the characters of Lancelot and Guinevere (Keira Knightly), they seem to have stuck with the Arthur of legend. Knightly's performance was certainly nothing special. Her role in the movie was unclear as she seemed to only be there to run around in skimpy outfits, although I'm sure the intention was to create a strong female character. I thought her survival in battle was unrealistic as she was much smaller and weaker than the thousands of large trained warriors she was fighting, particularly since she had apparently nearly starved to death after being walled up in a tomb for her Pagan beliefs. Although Knightly is beautiful, her performances in movies thus far have yet to convince me of her acting abilities.

Overall, I thought this movie was unique in that it depicted a time not often portrayed in modern cinema. It had strong themes with a good mix of humour, romance and action. Although the film had its flaws, I would definitely recommend it as I believe it would appeal to a wide audience.


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