Brian Helgeland’s A Knight’s Tale offers a unique lens through which to examine medievalism in popular culture. This a knight’s tale study guide delves into the film’s historical context, its relationship to Chaucer’s The Knight’s Tale, and its broader commentary on society and class.
Deconstructing A Knight’s Tale: More Than Just a Medieval Movie
What makes A Knight’s Tale more than just a simple adaptation of Chaucer’s work? Louise D’Arcens argues the significance lies in Helgeland’s use of the indefinite article “A” instead of Chaucer’s definite “The.” This signifies an “undecidable medievalism,” placing the film in a different category from more literal adaptations like Lord of the Rings. It challenges the assumption that the film solely aims to visually adapt a medieval story. Instead, it positions itself as a medievalist text engaging in a dialogue with both the past and the present.
Alt text: William Thatcher, portrayed by Heath Ledger, embodies determination in A Knight’s Tale, wearing self-made armor.
Helgeland’s initial concept was a medieval sports film, inspired by the fact that only nobles could compete in jousting tournaments. This suggests that the primary source text is not The Knight’s Tale itself, but rather the sport of jousting and the societal restrictions surrounding it. Chaucer’s presence, according to Helgeland, is a deliberate attempt to subvert the “museum quality” often associated with the medieval period, presenting a more vibrant and relatable figure.
“One of the dangers of a period movie is that everything gets kind of put up on a pedestal and covered in varnish…I was an English major, and when we studied Chaucer he seemed like a guy who stepped out of a museum with dust all over him. But he had to be a more kind of out-there guy to write all that stuff. So having no idea, I’m hoping Paul [Bettany]’s version of Chaucer is closer to who Chaucer probably was…”
The film is set during a fictionalized six-month period of Chaucer’s life, further liberating it from strict historical accuracy and solidifying its identity as a fanciful medieval world. Helgeland aims not to translate the medieval period but to engage in a dialogue with it, exploring themes of youth, identity, and questioning authority – elements that resonate with both medieval and modern audiences.
A Tale of the People: Underdogs and Social Commentary
The appeal of A Knight’s Tale often lies in its underdog narrative, following William, Watt, and Roland’s quest to challenge the noble class. However, this populist sentiment has also drawn criticism for potentially diminishing the complexity of Chaucerian themes. Kathleen Forni argues that the film transforms a “Boethian exploration of human happiness and divine justice into a predictable and vulgar myth of fulfilment,” and Jeffrey Badder criticizes its perceived disregard for social customs and manners of the time.
Alt text: Geoffrey Chaucer, played by Paul Bettany, embodies a charismatic yet disheveled persona in A Knight’s Tale, challenging historical perceptions.
However, these criticisms often overlook Helgeland’s intentions. He wasn’t aiming for a faithful adaptation of The Knight’s Tale. Instead, he envisioned a story guided by the philosophy that “a man can change his stars.” Therefore, judging the film based on its adherence to Chaucer’s themes or historical accuracy is misdirected. The film’s genre, a comedic and action-packed spectacle meant for mass consumption, should also be considered.
Challenging Textual Authority: A Modern Take on Medieval Themes
A Knight’s Tale subverts textual authority, particularly in its use of anachronisms like Queen’s “We Will Rock You” and its portrayal of Jocelyn as a non-conformist noblewoman. This challenges viewers’ expectations based on the film’s title, its inclusion of Chaucer, and its medieval setting.
The film’s opening scene, with its modern stadium-like atmosphere and rock-and-roll soundtrack, further reinforces this deliberate departure from historical accuracy.
This willingness to challenge convention aligns with medieval tradition itself. As exemplified in Troilus and Criseyde, Chaucer freely borrowed and innovated, creating a classical textual source for his story by inventing “Lollius”.
The film’s humour, action, and themes of social mobility resonate with modern audiences while still reflecting concerns about class, honour, and individual agency that were prevalent in the medieval period.
Conclusion: A Valuable Lens for Examining Medievalism
“If we are to truly grasp the significance of a medievalist text within the undecidability of medievalism, we need to accept, and not condemn, its partial truth, its blithe purloining, and most of all its fluctuating allegiances, which it directs promiscuously not only to the medieval past, but also to other…pasts, the present, and even the future.”
D’Arcens’ assertion encapsulates the value of examining A Knight’s Tale as a medievalist text. By embracing its modern sensibilities and recognizing its dialogue with both the past and the present, viewers can gain a deeper appreciation for the complexities of medievalism and its enduring relevance. The film’s unexpected gems, like the emphasis on pilgrimage and the estates satire woven into the Hollywood plotline, offer insightful commentary on social structures and individual agency. Ultimately, A Knight’s Tale provides a valuable opportunity to explore medieval themes through a modern, accessible, and entertaining lens.
Works Cited:
D’Arcens, Louise. “Deconstruction and the Medieval Indefinite Article: The Undecidable Medievalism of Brian Helgeland’s A Knight’s Tale” in Parergon, vol. 25, no. 2, pp. 88-98. Australian and New Zealand Association of Medieval and Early Modern Studies, 2008.
Forni, Kathleen. “Reinventing Chaucer: Helgeland’s A Knight’s Tale” in The Chaucer Review, vol. 37, no. 3, pp. 253-264. Penn State University Press, 2003.
