Perceval le Gallois

Eric Rohmer's Perceval Le Gallois transports us back to the Middle Ages, offering a magical vision of the Grail legend in poetry, music, and simple imagery. The film is set in the time of King Arthur and his roundtable. By using costumes based on religious paintings of the Middle Ages, and sets of miniature gold castles and metallic trees, standing silhouetted in front of a painted canvas backdrop, Rohmer creates a sense of childlike wonder. Though based on an unfinished 12th century novel by Chretien de Troyes, the text has been modernized for modern audiences. Female and male choruses sing the connecting narration in traditional rhyming couplets and, with true theatrical flair, actors speak not only their lines but also the thoughts of the characters.

Perceval (played by Fabrice Luchini in a performance I found to be the film's biggest drawback) is a naïve youth who lives with his mother. When he is awed by his first encounter with a knight, he determines to go to King Arthur's court to become a knight. Securing the blessings of the King, he takes lessons in chivalry from the wise Gornemant de Goort (Raoul Billerey). His adventures and a subplot involving Gawain take up the remainder of the film. Perceval first captures the heart of Blanchefeur (Arielle Dombasle), then those of other fair maidens, always remembering the simple tenets taught to him by Gornemant. With a powerful depiction of the passion of Jesus Christ and an episode involving the Bloody Lance and the Holy Grail, Perceval gives us a modern insight into chivalry, and also allows us to glimpse the underlying mystery of life.

How many movies do you remember for 25 years and constantly look for the DVD release. This movie is impossible to explain, it requires a visit. I saw this in NY when it was first released and I never forgot it. At the time I had just finished reading several Aurthurian novels and myths as well as Richard Monaco's Parsifal and the excellent Mary Stewart Merlin Trilogy. It capture the myth in the same way that renaissance and medieval music portray the period with their beautiful simplicity. I have very little more to add except to watch it if it ever makes it to DVD. Unfortunately since the policy of this site is a 10 line minimum I have to waste space and time by typing until I reach the minimum number of lines. Good luck.

I'm at a loss over what I could say about Eric Rohmer's Perceval. I was so deeply affected by it. I'm guessing that many will be annoyed at the French New Wave style, which I personally love. I'm definitely a French New Wave fan. I'm not really a Rohmer fan, though. This is only the second Rohmer film I've seen, after his 1997 film An Autumn Tale (I think that's what it's called). I was unimpressed with that. Perceval will probably lead me to see more of his films, although, from what I've heard, this film is stylistically different than anything else he has ever made. Heck, I haven't seen anything at all similar in style in the many, many films I've seen. It's as if it takes place within the world of the theater. Naturalism is thrown out the window. The landscape is reduced to a bare minimum. Trees are sculpted out of metal, and are more symbols of trees than trees themselves. Castles are small, like the skenes of ancient Greek theater. The palette is made up of mostly primary colors. White appears frequently, and there are a couple of scenes with some purple. Silver and gold are abundant. This goes for the sets and constumes. The acting is exaggerated, I think, to imitate a Medieval style. Best of all, a lot of the narrative is sung to gorgeous Medieval arrangements. This is perhaps the most hypnotizing aspect of the film.

The only thing that has a tendency to disappoint is the narrative. It's choppy, things go unresolved and so forth. It didn't bother me too much. I've actually read some Medieval literature, and it doesn't generally obey Aristotle's rules. The main piece that feels unresolved is the story of Gawain. Only after about one hundred minutes does he become important, the story follows him for a while, and then it goes back to Perceval, never to return again. Still, this didn't bother me too much. There's not an individual scene in the film that lacks beauty. Several are amongst the most beautiful ever captured on film. Perceval even contains the second most powerful version of the Passion of Jesus Christ I've ever seen in a film, slightly behind the one in Andrei Tarkovsky's Andrei Rublev. I know that I will come back to Perceval as soon as I can to study it closer and love it more. It's instantly one of my favorite films. 10/10.

Between the movies that integrate the series called Moral Tales and those which integrate the other one called Comedies and Proverbs the French director Eric Rohmer turned himself to historical or legendary themes such as those which inspired La Marquise d'O and this one Perceval Le Gallois. In them all he revealed his genius as a creator of stories and types always in a gentle narrative style not so dramatic but no less psychologically deep. This movie is based on a story by the 12th century novelist Chrétien de Troyes and while respecting the text surrounds it by beautiful images, music and chants also inspired in mediaeval tunes very appropriate for the theme. The sceneries are not real and rather symbolic which underlines the legendary nature of the story of Perceval whose mother, having lost her husband and two sons in combats, has educated him in the ignorance of chivalry. But one day he meets five knights whom he takes for God and four angels. This leads him to go to King Arthur's court to have knighthood conferred upon him. From then on the story develops itself in a series of romantic scenes and episodes of mediaeval taste in the suave usual Rohmer's style. Of course those people who prefer dramatic or violent movies will not appreciate this one. It's however a good movie of its kind.

Let me start off by saying most folk I know are going to hate this film. I'll go one further: most human beings will hate this film. Rohmer has taken the Parsifilian myth and in translating it for the screen has created a hybrid form of storytelling combing the artifice and conventions of the world of theatre with the continuity we've grown accustomed to in the world of cinema. For some freaks (like yours truly) the wedding of these two formats works in an almost otherworldly manner making it quite unlike any film one is likely to see. Although combining elements of several of the Parsifal legends, Rohmer's retelling seems more centered on Chrétien de Troyes story than von Eisenbach's epic, endless poem.

Visually – here, at least – Rohmer remains in the world of theatre: the sets are often painted flats, or small scale models that suggest or are more representational of the tale's locations than they are visual recreations typically found in film. There are trees constructed of metal, and myriad other odd touches to the set, all of which seems to be on an enormous stylized turntable or disc that revolves as the story progresses. The film is often narrated by a group of madrigal singers who, with their ancient instruments, wander in and out of the picture (and the story) adding commentary and observation serving a function in the manner of a Greek chorus. The effect is charming adding a further medieval, church mystery quality unifying the disparate elements of Rohmer has chosen for his storytelling. Conversely, it is also one of the elements that will annoy the hell out of many viewers.

Rohmer's telling of the tale is primarily centered with the young Perceval's fascination with the world of knights and his desire to enter their world chivalrous universe. In the title role Fabrice Luchini portrays the young novice with a typically cool French sense of detachment, and arrogance – yet somehow manages to balance it all with humility and honor. Fearlessly he passes through all of his trials and in the process shows that arrogance is not always wed with pride; when one's right and aware of his skill and abilities, he needn't be boastful. It's a fascinating portrayal.

Interestingly, and more honestly than most Arthurian films Rohmer suggests more of the turmoil, weakness and near dissolution of Arthur's court than its glory. The young knight's stint at the castle, his integrity and eye for honesty wins the day earning him glory.

Rohmer's pushing of the tale to include Sir Gawain's story moves naturally adding a deeper level to this Arthurian tale, as well as reminding us of the complexity, intertwining, and timelessness of all of these legends.

Even those who may not like will not argue that visually Rohmer has created a world that is often breathtakingly beautiful. Indeed, many of the shots feel as though they'd dropped to us from glorious tapestry hanging from a damp castle wall.