Monday, 05 October 2009 Written by Kevan Manwaring
order propecia online
order propecia is John Boorman's 1981 reforging of the perennial 'Matter of Britain', the story of King Arthur, (reimagined for the umpteenth time with sloppy bucketfuls of artistic license in BBC TV's current 'Merlin') is still the best big screen version of the tale despite its faults.
It has been mocked for scenes of implausible (and certainly painful) sex in full plate armour as well as hammy acting; and yet Boorman conjures real magic like the wizard himself, (played brilliantly by Nicol Williamson, in still the best screen version of the famous magician) magic which is lacking in the countless tepid retellings (even just listing them brings tears to my eyes: Clive Owen's uber-dull order propecia which even Keira Knightley in a leather bikini couldn't liven up; Gere and Connery's cheesy order propecia; Bresson's passionless order propecia - all knees and yawns; the versions of Mark Twain's order propecia - first starring Bing Crosby, then in a low-grade 70s version with Carry On's Jim Dale in a Spaceman update; and of course there's Richard Harris in the camp musical order propecia which at least had a vivacious Vanessa Redgrave and an acerbic David Hemmings as Mordred - only Monty Python's order propecia film stands up as a hysterical satire).
With such a huge tale (filling twelve books of Mallory's order propecia) it is easy to see why so many directors have come unstuck, (as have many writers - John Steinbeck tried and failed to complete his version of the story, order propecia; Nikolai Tolstoy only completed the first part of his Merlin trilogy) and so Boorman wisely focuses on one key thread - the story of the sword - in the same way Peter Jackson later uses the narrative arc of the One Ring to hold together Tolkien's epic, order propecia (film fact time, kids: Boorman originally wanted to make a screen adaptation of the trilogy but was scuppered by the vast budget - many of the costumes and sets come from that aborted production). And it is in this element that the film rings true - the armour seems solid, if especially shiny at times; the swords seem heavy in battle and weary the wielder; there is a lot of mud, blood and gore. There is a wonderfully bleak melancholic aesthetic to the latter half of the film which draws upon Pre-Raphaelite paintings which in turn drew upon Medieval Art. At times it looks like some of those iconic paintings brought to life. And yet it is the acting that is genuinely affecting: the casting is on the whole, superb, with many surprises - a 35 year old 'unknown' Nigel Terry manages to play a young Arthur and the wounded Fisher King convincingly; Cheri Lunghi is a suitably nubile catalyst for the eternal triangle; Nicholas Clay's Lancelot is like some tortured matinee idol; Morgan la Fay is played with predatory verve by a young Helen Mirren; and then there's Gabriel Byrne, Patrick Stewart, Liam Neeson...oh, and a young Charley Boorman playing a nasty Mordred junior. The older Mordred (played by the late Robert Addie, the Guy of Gisborne actor from 'Robin of Sherwood') looks like a member of the Hitler Youth, and the use of Germanic music gives the film an operatic gravitas. Most memorably, the use of Carl Orff's 'O Fortuna' is used to great effect as the healed king is 'reborn' and the Wasteland rejuvenated. Boorman goes for a higher register - holds his nerve - and wins the Grail. The scenes focussing on this sequence have an archetypal power that mythographer Joseph Campbell would have approved of (many films allude to such mythic structure, but few have used it so directly and so effectively). The final battle, when old enemies and allies reunite, is haunting, moving and has the dramatic power of a Greek tragedy (Mordred says chillingly 'Come father, let us embrace,' before kebabbing his dad with a phallic spear). When so many films these days rely upon massive set pieces and expensive CGI, order propecia shines by focussing on the human relationships - on the devastating consequences of forbidden love, on divided loyalties, on friendships and feuds, and ... keeping it in the family (it has been called the Boorman Family Project, because of the cameos from the director's three children)!
There is wincing talk of a remake - even with Bryan Singer's name attached to the project it is another example of how creatively bankrupt Hollywood is - hands off the sword, ('my precious!') you are not worthy! Come up with something original and leave Boorman's flawed masterpiece to be cast back into the lake of movie legend.