Director: Nick Hamm
Writer: Friedrich Schiller, Nick Hamm
Stars: Jonathan Pryce, Ben Kingsley, Jonah Hauer-King
Synopsis: The narrative unfolds in the 14th Century amidst the days of the Holy Roman Empire where Europe’s nations fiercely vie for supremacy and the ambitious Austrians, desiring more land, encroach upon Switzerland, a serene and pastoral nation.
William Tell throws audiences into the life of its titular character as he must aim his arrow true to shoot an apple off his son’s head, to guarantee the safety of his family. Directed by Nick Hamm, William Tell is a return to the epic hero-driven sword and board films of the early 2000s, like Ridley Scott’s Kingdom of Heaven and Wolfgang Petersen’s film Troy. Packed with medieval action, William Tell is overflowing with lush mountainous visuals and an inspiring story of revolting against a tyrannical government.
Right from the start, William Tell showcases its eponymous hero (Claes Bag), as he ischallenged with his most daunting task: shooting an apple off his son’s head. Surrounded by villagers, soldiers, and his wife Suna (Golshifteh Farahani), the film sets its iconic lead up while taking audiences back to the beginning of his story. A veteran soldier, Tell now lives a quiet life with his small family while the Austrian government rules over them with a violent and greedy fist. As Tell is out with his son Walter (Tobias Jowett), he must choose to help Baumgarten (Sam Keeley), a man whose wife was just brutally assaulted and murdered by the tax collectors and risk his own families safety or let the cruel soldiers take him in. In true Tell fashion, he agrees to see the man to safety; while on their journey, Tell finds that in order to stop this violence for good and restore their freedom, their ruling leaders must be stopped.
Hamm doesn’t just direct William Tell but also pens the story, taking elements from the 1804 play of the same name by Friedrich Schiller. Not only is the film a showcase for a folk legend, but it also serves as an inspiring story of citizens saying enough is enough when their government no longer serves them properly. Tell works with his friends to bolster the community against the Gessler (Connor Swindells), who works for King Albert of the Hapsburg royal house (Ben Kingsley) to keep the villagers of all walks of life in line, by whatever means necessary. Traveling the vast countryside putting a team of rebels together, men and women alike, Tell continuously does the right thing, even when it means taking a life. Hamm’s script shines during the most dramatic moments of the film, posing moral obstacles in front of Tell, like having to end a suffering old man’s life while he screams in pain from the Gessler’s men. The film earns its R rating, not shying away from the cruel casualties of war, and the brutal limb-slicing gore.
The film stands apart from other period dramas with its lavish costuming that shows the drastic difference between the ruling class and the working class of the fourteenth century. Where costume designer Francessca Satori explores the social rankings through fashion the best is with Bertha (Ellie Bamber), the niece of King Albert. Her fiery red hair is often matched with deep blue or green dresses, showing her rank in intricate stitching work. The rest of the Hapsburg family is dressed just as well; King Albert dons a gold eye piece with dark flowing robes that make him stand out among the rest of his court. Paired with Tonino Zera’s production design, William Tell is a breath of fresh air in a sea of films overusing green screens. Homes of villagers feel lived in, with their candle-lit tables and roofs fashioned with straw; they depict working-class men and women who take pride in what they have. Which makes it all the more devastating when the tax collectors invade their homes, tossing the place around.
The film’s performances are stacked with heroism, not only from Tell but also from its vast supporting cast. The standout is Bamber, who portrays a young royal that stands up for her own freedoms during a time when women were often silenced. She’s not afraid to speak her mind and stand up for herself, especially when it comes to her future. Claes makes Tell easy to root for, playing him as a somewhat Robin Hood; where his performance stands out the most is in intimate moments between him and his wife. He brings a vulnerability to his performance, showing that even the most heroic of men have their weaknesses. What really makes the film is the villainous performance from Swindells; his Gessler truly will have your blood-boiling with frustration. The joy Swindells exudes while taking pride in his cruelty is beyond impressive. There are many supporting roles that don’t get much time to shine; even with the film’s 2-hour and 13-minute runtime, there’s a lot going on with each character’s secondary stories that would work better in a limited series capacity.
William Tell brings a plethora of medieval action with different kinds of weapons; crossbows, sword and shield, even hidden daggers show the brutal impacts of war. Showcased best during a tax collector’s raid on a citizen’s farm, a homeowner uses a scythe to de-limb men in armor who threaten his prized bull’s life. Captured by cinematographer Jaime Ramsay, the action proves to be its own character, especially during flashback scenes with Tell; the camera lingers on moments of violence, letting the audience sit with it like the memories that haunt Tell. Ramsay’s stunning camera work doesn’t just stop at the action, as each frame in William Tell could easily be a painting with the vast mountain ranges and lush forests decorating the background as Tell and his group of heroes battle their way to freedom. Deep green forests and the dark blue waters of the sea pop with the film’s vibrant color grading.
Overall, William Tell is an epic story that is not only easy on the eyes with its visuals and costume designs, but in its fighting against those in power storyline. Hamm crafts a film that brings in inspiring performances from its main cast that is stuffed with gory medieval action. Worthy of a watch for fans of the once plentiful period piece action dramas of the early 2000s
