The Black Knight

In my opinion, the finest cinematic renditions of the Arthurian legends have all been revisionist in nature – Robert Bresson’s ascetic LANCELOT DU LAC (1974), the uproarious MONTY PYTHON AND THE HOLY GRAIL (1974) and John Boorman’s visceral Excalibur (1981) – but, for an entire generation of youngsters during the 1950s and 1960s (that to which my father belongs to be exact), the idealized, heroic Hollywood version of Camelot, its sovereign and inhabitants was the only one there was. In fact, they were spoilt for choice when it comes to depictions of pageantry in those days with Mel Ferrer, Brian Aherne (twice) and Richard Harris being among those who assuming on film the role of King Arthur.

In this modest, fairly routine but equally enjoyable British production, it is Anthony Bushell who gets to play the ruler of Camelot but the actor’s relative anonymity implies (correctly as it turns out) that his role in the narrative is merely a peripheral one. In fact, the leading man here is diminutive Hollywood star Alan Ladd: curiously cast as a taciturn English blacksmith with ideas above his station (generally directed towards aristocratic Patricia Medina), he is wrongly accused of both treason (by duplicitous Saracen knight Peter Cushing) and of cowardice (by Medina herself, after a Viking attack on her castle leaves her mother dead and father, played by Harry Andrews, half-crazed with grief)! However, with the help of a prescient knight (Andre' Morell) and after adopting the titular disguise, our commoner hero saves the day by routing the villains (who also include a dastardly Scottish royal – portrayed by yet another future Hammer horror stalwart Patrick Troughton, as well as Cushing’s laughing, would-be deaf-mute giant stooge), earning himself an official knighthood and, it goes without saying, Medina’s hand in marriage. Incidentally, the tale is set off by a ballad sung in a brief prologue by a minstrel (Elton Hayes) approaching a castle but, unexpectedly enough, rather than featuring in the upcoming narrative (as a singing squire or something), he quickly vanishes never to be seen or heard from again!

Apart from the film’s unsurprising reliance on cliché, it also contains elements of camp (particularly a Pagan rite being performed at Stonehenge and the cumbersome insignias worn on their helmets by the various knights) and leads up to a curiously clumsy climax (with an ostensibly unnoticed Ladd conspicuously overhearing the scheming Troughton and Cushing from a secret passage leading right behind the former’s throne; Ladd seemingly taken aback by the aforementioned giant falling to his death in spite of himself from the castle rooftop, not to mention Cushing apparently tripping in his own armor when turning up for the final showdown with the hero)! Actually, this only increases the film’s fun factor and, over fifty years later, one can still understand how this stuff was eagerly lapped up by thrill-seeking schoolboys during their weekly matinees. Incidentally, given Cushing’s reputation as a horror star, it may come as a surprise to some that he appeared in numerous costumers over the years – including THE MAN IN THE IRON MASK (1939), Alexander THE GREAT (1956), JOHN PAUL JONES (1959), SWORD OF SHERWOOD FOREST (1960), THE HELLFIRE CLUB (1961), FURY AT SMUGGLER’S BAY (1961), CAPTAIN CLEGG (1963) and SWORD OF THE VALIANT (1984)!

For what it’s worth, the screenplay involves some notable names – Alec Coppel, future director Bryan Forbes and film noir star Dennis O’Keefe(!) – and its plot of King Arthur vs. The Vikings would come in handy once more that same year in the equally inauthentic but even more popular PRINCE VALIANT. Other distinguished crew members include composer John Addison, cinematographer John Wilcox, art director Vetchinsky and producers Irving Allen and Albert R. Broccoli(!) – this was actually the latter’s third and last picture with Ladd following THE RED BERET (1953) and HELL BELOW ZERO (1954). By the way, THE BLACK KNIGHT itself eventually got remade by Nathan Juran as SIEGE OF THE SAXONS (1963)!

Ah the swords and shields movie, a once thriving genre of film from yore where big bucks was thrown at the productions, and spectacle was unleashed. There were one or two exceptions, mind...

Directed by Tay Garnett, produced by Irving Allen and Albert R. Broccoli and starring Alan Ladd, Peter Cushing and a whole host of British thespians lining up for some costume shenanigans. Story is a reworking of Arthurian England, with Ladd as a brave blacksmith who reinvents himself as the Black Knight to foil a dastard plan to overthrow King Arthur, and of course to impress the Lady Linet (Patricia Medina) who he has the major hots for. Sword play, fights, swinging about, jousts and Royal machinations do follow.

In the context of its budget it's hardly the awful stinker some have lined up to proclaim it as. Oh it definitely has problems, not the least that Ladd is badly miscast and Medina just isn't good enough, but there's a great sense of fun about the whole thing. One only has to look at Cushing's performance as the villainous Sir Palamides, he's having a great old time of it prancing about in tights and smothered in so much make-up he looks like a Satsuma! If you can get into Cushing's mindset then there's fun to be had here, intentionally or otherwise!

It's very colourful, costuming is impressive and with Garnett the wise old pro not wasting any chance for an action scene - or to encourage his male cast members into macho posturing - it's never dull. True, the editing is shoddy, the script (Alec Coppel) poor and some of the choreography is amateurish, but this is medieval malarkey 101. A film for the forgiving genre fan whose after a simple hour and half of robust swordery and chastity belt tamperings. 6/10

1954's "The Black Knight" marked the coming out for Peter Cushing's screen career, his top villain Sir Palamides outshining Alan Ladd's miscast hero John, serving King Mark of Cornwall (Patrick Troughton) as they perform their pagan misdeeds disguised as Vikings in trying to overthrow King Arthur (Anthony Bushell) and Christianity. In just his second feature, Harry Andrews appears all too briefly as the Earl of Yeonil, but Andre Morell shines as Sir Ontzlake, who teaches John the skills he needs to win, but to wait until they can confirm the treachery of the sly Palamides (actors Bryan Forbes and Dennis O'Keefe are credited with 'additional dialogue'). Wearing earrings, hair carefully curled, bearing a faintly Arabian accent that makes each line a cherished treasure, the bearded Cushing is a menacing, awesome sight, his blue eyes accentuated by his dark skin, certainly a match for his idol Basil Rathbone in either "The Adventures of Robin Hood" or "The Mark of Zorro." For an actor who loved Westerns and derring do, this would remain a cherished role that Christopher Lee would get to play far more often. This was only the first of six times that Cushing would be paired with Andre Morell, most memorably as Holmes and Watson in 1958's "The Hound of the Baskervilles." Like Cushing a future Dr. Who, Patrick Troughton was so prolific on television that he rarely strayed from horror on screen, working again opposite his evil cohort in both "The Gorgon" and "Frankenstein and the Monster from Hell." Though best remembered as an actor (appearing with Boris Karloff in both "Five Star Final" and "The Ghoul"), Anthony Bushell later directed Christopher Lee in 1960's "The Terror of the Tongs" (previously appearing with Lee in 1957's "Bitter Victory").

I liked it only because I fancy swords and medieval armor. However, you're not going to learn anything factual nor fascinating about medieval combat here unlike in Robert Taylor's Ivanhoe or Knights of the Round Table.

The character portrayed by Alan Ladd wears an abbreviated armor eschewing the greaves and other gear to protect the legs and arms. Save for the breastplate and chain mail (short sleeved at that!), there is little to suggest that he wears authentic knightly armor. Even his helmet covers only the top of his face (no doubt to display his handsome features.) Robocop is the same way. The reason for the light armor becomes apparent when Ladd performs acrobatics in combat unlikely to have been part of a knight's dueling or battle paces. Robert Wagner in Prince Valiant does similar things.

The heroic Black Knight is actually a commoner and thus barred from bearing knightly arms and so has to keep his identity secret.

The villains are a Saracen knight (Peter Cushing) allied with Cornishmen. Why the people of Cornwall who are as British as the English? Beats me.

Cushing gives a luscious performance as a baddie. His quip after humiliating the blacksmith Alan Ladd before his lady love (Patricia Medina) is memorable. After failing to egg the meek Alan Ladd into fighting him, he turns to Patricia saying: "Please pardon this shameful exhibition."

The photography and location shots are excellent.

I fell asleep in front of the TV and woke just now to find Alan Ladd shouting and charging around on horseback.

His armour seems to be both lightweight and waterproof because riding through a fast flowing river causes no problems. Not even his horse gets wet!

Our hero also wears a ridiculous helmet All The Time, even indoors in the presence of ladies and his liege lord, King Arthur. There's no practical reason for the helmet - he doesn't need a disguise - and it stops him sneaking up on enemies because the shadow gives him away every time.

Part of me wondered whether this was another ruse to disguise the actor's lack of *height?

*Ladd wasn't really all that short, 5 ft 6 inches, but not the Hollywood hero standard at that time.

Did you know human sacrifice was a thing in the days of King Arthur? Nor did I. Apparently required by a band of Vikings roaming around... The sacrifice is a very pretty blonde starlet, immaculately coiffed and manicured, screaming heartily despite being constrained by undergarments not known in the Middle Ages. As the late great TV critic Clive James once commented, "Maidenformed like an armadillo" 😂

Meanwhile in a castle turret, another staunchly corseted beauty, brunette Patricia Medina, is defending her virtue from a gigantic slave who resembles Aladdin's Genie. He's not painted blue because that would just be silly.

Battle scenes take place at "Stonehenge" - with cardboard rocks which wobble in every passing breeze - and a painted matte castle straight from Disneyland. (Fair enough, the film was made in the early 50s before CGI) Arrows and stones are thrown at Alan and his chums, galloping to King Arthur's rescue.

Extras clutch fake arrows to their chests and slump dramatically over the battlements.

Nobody shouts, "Your mother was a hamster and your father smelt of elderberries" which I think is a pity, it would have added a certain je ne sais quoi.

Villainous King Mark and his henchman Sir Palamides, plotting together against King Arthur, are played by Patrick Troughton and Peter Cushing. To their credit, both actors approach their roles as seriously as they would later play Doctor Who. (Not being sarky, they're both very good)

I enjoyed it very much. For all the wrong reasons 😂