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tanadrin · 3 years

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Dev Patel and the Green Knight

I finally got around to seeing The Green Knight. Overall, I enjoyed it--David Lowery does a good job capturing the essential weirdness of the tale, which is very much about taking a mundane circumstance (a Christmas feast) and suddenly catapulting the reader into a mythic otherworld through the intrusion of the alien and monstrous, and the fantastical costumes, dramatic lighting, and dissonant score all contribute very well to a sense of otherness that permeates the original story.

But I find it interesting--and, I'll admit, a little frustrating--that no modern film adaptation of medieval literature is really capable of taking the story it's adapting on its own merits. This isn't an objection to modifying the source text, or taking it in new, non-literal direction. I can think of plenty of adaptations of work that play with the source material in interesting ways, and are better for it. Even very faithful adaptations like Peter Jackson's Lord of the Rings are inevitably going to alter the source based on the need to adapt it for the screen and the whims of the director. But when it comes to medieval classics, texts like Beowulf or Gawain and the Green Knight are always held at arm's length. An ironic layer is always interpolated into the original story, and even in modified form the story is never allowed to stand on its own.

Contrast, for instance, modern retellings of Arthurian legend; or Wagner's Nibelungenleid; or something like Neil Gaiman's book of Norse mythology. These are all adaptations of much older stories, all medieval; and the authors typically happy to let the stories operate on their own terms. In fact, that is often a selling point: dipping into these tales is a way of sampling an alien culture, one that is remote from us in time rather than space, and part of the sense of heightened drama is the understanding that these stories do not necessarily depict the world in the same way that modern realist prose does. They are fairy-stories, in the Tolkienian sense, and something not quite even like "high fantasy," which, although it is a genre which owes much to the mythic tradition, is usually *told* in the same manner as other realist fiction. And you could take these stories and re-cast them in a realist mold--that's definitely been done with Arthurian legend, either via anachronism or trying to place them in an era-appropriate historical context, and even that yields something quite like the original in tenor, even if the language used to relate the story is often very different.

Watching this movie, I was *strongly* reminded of Robert Zemeckis's Beowulf, in that this did not feel like an attempt to adapt Gawain and the Green Knight for the screen. It felt like an attempt to tell a story *about* Gawain and the Green Knight (the text), a story which does not stand on its own. You don't have to have read the text to understand the movie (although I think some directorial decisions would be a bit mystifying if you hadn't), but the movie definitely situates itself *as a response* to the text. Which is an odd choice! Actually, another good point of comparison is Spike Jonze's Adaptation. It started life as an adaptation of Susan Orlean's The Orchid Thief, but Charlie Kaufman sort of gave up writing that halfway through and wrote a movie about the difficulty he was having writing *that* movie, and the result is something very weird (and very good) that is full of metafictional elements that depend on the existence of this other work, in a way that a straight retelling of The Orchid Thief for the screen obviously would not. And while The Green Knight isn't that extreme, it is definitely playing on the structure of the medieval poem, and replying to it.

The core of the movie (as I understood it) is a tension between young Gawain's aspiration to knightliness, his ambition which is born at least in part from his mother's encouragement, and his own failure to live up to the heroic ideal of greatness. Not chivalric--this is a movie in which the ethos of chivalry makes not even the briefest of appearance, which is weird given that it's nominally an Arthurian romance, and that the chivalric ethos is extremely important to the original text. Instead we have a generic greatness being described, one which is associated with renown, with taking part in mythic events, and with achieving high rank and honor. In the service of seeing her son obtain all this, Gawain's mother seems to cast some kind of spell, whereupon the titular Green Knight appears at Arthur's Christmas-feast; and as in the poem, a game of beheadings is proffered. Gawain accepts the challenge, beheads the knight, and the knight rides away, promising he'll meet Gawain a year and a day hence at the Green Chapel. So far so straightforward. When Gawain sets off a year later to meet the knight, his mother gives him an enchanted belt to keep him safe from harm. Gawain goes on to have a couple of side-of-the-road adventures and mishaps, the kind of thing that's par for the course when you're telling an Arthurian romance, until he arrives at the house of a mysterious benefactor, just about a day away from the Chapel, who grants him hospitality until the day of his challenge.

Now, in the original story, this is where Gawain gets the magic belt, and it's hugely important: Gawain and his host promise to exchange anything they might receive at the end of each day, when the host has been out hunting all day and Gawain has been in the house recuperating from his travels. During this time, the host's wife repeatedly tries to seduce Gawain; and Gawain is trapped between the imperative not to sleep with his host's wife (a major violation of the rules of good chivalric conduct!) and the imperative not to offend the woman (also a violation of those rules). He succeeds, for the most part; he is forced at one point to give his host a kiss at the end of the day, since the wife kissed him; this is shown as him holding nothing back and acting in good faith on the vow he made to his host. When Gawain finally rebuffs the wife for good, she insists that, even if he won't sleep with her, he should at least take a magic belt she has woven that will keep him from harm. He does; but he does *not* give this to his host. When he finally goes to the Green Chapel, the Knight returns the original blow as promised--but only nicks Gawain lightly. He reveals himself to be none other than the host who was sheltering him; the nick was his reprimand for withholding that final gift, but because of his good conduct he is otherwise left unharmed. The whole thing was a test of sorts, one which Gawain passed. Despite flinching at first from the blow, and keeping the belt secret, he shows himself ultimately to be a man of good (albeit not perfect) conduct, and *that* is why he wins honor from the whole affair.

The movie takes this basic narrative and alters it in key places, completely changing the valence of the whole thing. First, Gawain gets the belt at the beginning of his quest, as mentioned; he loses it on the way, but when he reaches the castle, the wife of his host (who succeeds in seducing him with a handjob) presents it to him as if she had woven it herself. He does not actually engage in the game of exchanged with his host, who is *also* not the Green Knight. And we're treated to a monologue about the color green from the wife that feels beat for beat like it's been ripped off from someone's undergraduate essay about Gawain and the Green Knight, which is a little weird even in the context of the rest of the movie. Finally when Gawain reaches the chapel, the knight goes to return the blow--and Gawain completely chickens out and flees. We are then treated to an extended sequence of Gawain returning home; being feted as a hero; earning his knighthood (presumably by lying about what happened); succeeding Arthur as king; him abandoning his low-class beau once she bears him a son, and marrying a princess; going to war; his son dying in a war; and finally, as an old man, being trapped in his throne room as a besieging army breaks its way inside. Just before they do, he removes the magic belt from around his waist, his head fall off, and bam--we're shown this has been an Occurrence At Owl Creek Bridge thing this whole time, and the Green Knight has not yet landed his blow.

Gawain finally takes off the belt, throws it aside, and tells the knight to go ahead--and the knight bends down and congratulates him. In context, the reading seems to be this: the belt is a talisman of Gawain's mother's influence, of external expectations for what kind of man he is. The Knight is Arthur or perhaps an agent of his, and the test in *this* case is whether Gawain can be his own person. All the events leading up to this point are perhaps a part of the original magic Gawain's mother cast, an effort to Lilith Weatherwax her kid to greatness by putting him into an epic story. Implicitly, then, the Gawain and the Green Knight we all know is the false version of the tale, the tale as Gawain's mother would have it told.

This is all very clever. But I'm afraid it's so clever it falls apart in the end. Because the structure of the original story that this depends on is dependent in turn on taking the whole notion of chivalric virtue seriously, which this movie plainly does not. Gawain is shown as irreverent and lustful and a bit of a party animal--lovable and good hearted fundamentally, but definitely not an Arthurian hero. That's fine, but that's a very modern sort of character, one that feels out of place in a movie that is trying very hard also to be tonally unmodern, firmly embedded in a mythic otherwhen of Arthurian legend. Moments of slice-of-life mundaneness, while charming, strain mightily against the epic tone the movie tries to take in other places, and strange events like a ghost seeking her lost head or immense giants striding the landscape. We are jostled: are we in the land of myth? Or are we in historical Britain? We cannot be in both!

And this is a movie that was definitely made by people who had read the original text; not just the original text, but also a great deal of criticism *about* the original text. The movie namechecks the theme of fivefold symmetry that's incredibly important to the structure of the poem; there's the aforementioned undergrad essay about colors about 3/4th of the way through; and there's the fact that the structure of the original plot (down to Morgan LeFay in disguise as an old woman in the host's castle) is present in altered form in every detail. But none of these details add up to much. There's a weird homoerotic kiss with the host that implies that in fact *he* wanted to sleep with Gawain, in addition to his wife; the ghost Gawain encounters early on tells him the Green Knight is in fact someone he knows (and therefore *can't* be the host; I think it's implied to be Arthur, like I said, but this is never quite confirmed), and while all these things *about* the original poem are shown, none of them ever get integrated thematically into the plot.

I think as a result, whatever Lowery was going for, the whole movie kind of falls apart in the end. And that's a pity, because somewhere in there is just a really weird, visually striking, really gripping, embellished-and-polished-for-modern-sensibilities-but-also-thematically-true-to-the-source retelling of Gawain and the Green Knight. And that would have been a much better movie! What are we to make of this, a movie that purports to be telling a story-behind-the-story, but one that leaves no room or context for the original? After all, Gawain in the end does *not* flee, does not return home a coward and a liar; presumably, he earns his honor, and can be honest about what happened. But if he is honest, none of the rest of what we have been shown makes a lick of sense, or has any point.

One feels a bit as if modern directors, when confronted with medieval texts being a bit weird, a bit alien in their worldview, instead of realizing that's actually something people like some of from time to time, feel like they have to construct an artificial bridge between the Middle Ages and the present day. But because it is invariably metafictional and self-referential, as if to say "don't worry, we know nobody REALLY wants to watch a bunch of boring medieval shit played straight," it comes off as cringing and ashamed of its source material. This isn't a plea for historicity! Gawain and the Green Knight is not history. But one does occasionally want to see an adaptation of one's favorite works without directors being ashamed of the text they are adapting! And since most people will not have read the original, I am rather confused about what the director intends for the audience to get out of all these references that are dependent on it, but don't stand on their own merits within the narrative of the movie itself.

The acting was good, the set design and costumes were terrific, I loved the slow and measured pacing and the weird score, and the design of the Knight himself, and the landscapes and almost everything else about the movie. So I don't think it's a waste of time, especially if you have read and enjoyed Gawain and the Green Knight, in the original or in translation. But it's definitely a pity to see a movie that was, well, *almost* great, but ended up merely OK.

#gotta put that undergraduate degree to work from time to time #we spent a *lot* of time on this poem

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emmys-grimoire · 3 years

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Lesson 52 analysis + 53 predictions

Turning this into a routine thing now! They’re fun to write and they’re popular (moreso than my actual commentary posts lmao).

Y’all like my ramblings.

Things guessed correctly from prior lesson

The House of Lamentation was an illusion produced by the fairies

The arc culminated in the completion of the Trial of Patience (star received via Simeon)

The illusion did a number on Simeon's feelings as well due to his fondness for Lucifer and the brothers

They shoved Mammon and Luke off to the side and plopped them back in only after the Satan/Simeon arc was complete. There was no arc for Luke. To be fair, though, they did get more content than I expected even so.

Things guessed wrong

The banshee didn't show up at all. It was a red herring.

There was no significance to the geranium found in the mysterious book

Our adventure also completed the Trial of Generosity. (I incorrectly attributed this to Diavolo, who actually gave us the Star of Gratitude)

Still ???

Whether or not there is some kind of transfer of memories/experiences going on between the brothers' past selves and present selves due to our meddling in time. We've confirmed that past angel Beelzebub has turned into a glutton in between the time we last saw him and now, but we haven't confirmed if it *is* our meddling that has induced that. Currently, no change has manifested in the present brothers, nor has the timeline of events seemed to have significantly changed.

Whether or not present Lucifer becoming more "angelic" in season 2, in lieu of past angel Lucifer's growing doubt, will be a significant plot point. The parallels are getting stronger, though. (This is elaborated on further down)

It feels like 50/50? I’ll probably keep a list like this going for future analysis/prediction posts just so I can keep track of how right/mistaken I am throughout the playthrough. Might help me make less mistakes in my analysis!

As a general rule I try not to meander too far off into symbolism or out-of-game lore because what I write begins to sound like this:

And this is an otome game that is light on writing and plot. Nine times out of ten, it’s not going to be that deep. So I work with the details given and the plot points shown and try to draw connections within the framework of the story, in an attempt to try to deduce where the devs are taking the plot. Unfortunately for me, the devs like red herrings, and red herrings are designed to mislead you. With me, they are quite successful! I’d like to get better at spotting them.

The book was consequential -- it’s used to imprison Satan later -- but that’s the end of it’s meaning. Maybe the Bible verse had something to do with it, too -- those were some weird ass numbers to just throw in the title -- but maybe not. Either way, it doesn’t really matter.

But enough of that, onwards! We have a lot of points to go over that may be interesting to note, right or not.

Satan the Memory Thief

Back in 50-B we learn that it was Michael who taught the brothers the stories behind the human world constellations.

When we’re tossed back in time-dreamland (?) again, it is Satan who takes the opportunity to teach the brothers the human world constellations. The room had just been remodeled: Michael hasn’t had the opportunity to give them tours yet. Lucifer mosied into the room so he and the brothers can get the first glimpse.

Sooo if in a future lesson we ask them about where they learned the constellations in the present timeline and they say “oh a guy named Sully, who suspiciously looked just like Satan, taught us!” then we know our meddling is having significant consequences.

It IS worth noting that unlike the prior dream sequence, Satan and Simeon remember what they just went through. This particular time-dream could very well just be an illusion meant to give Satan/Simeon some kind of emotional resolution and nothing else. This is kind of why I hate that they’re bring time travel back into the story: it makes stuff like this confusing and borderline inconsistent. Some sequences may have effects and others may not.

The chat between Lucifer and Simeon could also be consequential.

“Do you *really* mean that?”

There is a parallel at play here!

After you wake up after dozing off, you go off to find Lucifer and Simeon conversing in a forest clearing, evidently unaware that you’re eavesdropping on them. Simeon says although he knows it is just an illusion, that he was glad to see angel Lucy once more. Angel Lucy is predictably confused, and reassures Simeon that they’ll remain like this forever.

Simeon, of course, knows better. He tells Lucifer that he knows he’s been meeting with Diavolo and he’s having doubts about his place in the Celestial Realm -- and if things really will remain the same. Lucy is caught off guard, and starts to explain with some clear hesitation... and of course we pass out before we could hear his answer.

There’s creepy loud heartbeats when it fades out. Normally I associate them with tense, pivotal decisions -- but it could also just be related to us waking up and returning to reality.

If Simeon ends up being wrong -- and there will be real world consequences to this conversation -- they could be very significant consequences. We’re not sure if the conversation continues for a bit longer after we pass out, but Simeon already woke up before we come to.

Obviously the brothers still fell (they’re still demons in the present), but I wouldn’t underestimate the potential of a butterfly effect changing the circumstances of the Great Celestial War. I kind of hope they don’t do that, though, because they haven’t even begun to explain the present details of that event. We know only the broad strokes. Suddenly changing them to make the resolution between the demons and angels more smooth will feel really forced.

And that parallel I mentioned: Diavolo expresses similar worries and doubt in Lucifer’s conviction in season 2.

I have no doubt Lucifer actually means what he says to Diavolo, unlike his dialogue with Simeon, but Diavolo is aware of just how far Lucifer will go for the sake of his family -- and he’s probably #2 on the priority list, when push comes to shove. Lucifer forsaking the Celestial Realm for Lilith was the thing that brought him to Diavolo in the first place.

Of course, this lesson has Simeon suggesting that Diavolo’s influence on Lucifer was significant prior to all that unfolding, and it may have eventually happened regardless. It was only a matter of when, not how.

Still, Lucifer be writing checks he may not be able to cash. We also get this foreboding warning from Barbatos in Season 2:

As I’ve said before, the inevitable conflict the story was hinting to at this point doesn’t happen in Season 2. Lucifer isn’t forced to make a choice like this. The Night Dagger didn’t demand it.

I’ve also expressed my belief that Season 2 and Season 3 were likely written back-to-back due to the small window of time between their releases, so I believe details overlooked in Season 2 may suddenly become more relevant in Season 3.

It’s worth remembering Diavolo’s growing feelings for MC -- and Lucifer’s inner conflict about it -- were hinted at early in Season 2, as well. It doesn’t really get going until the conclusion of Season 2, leading into Season 3.

Do I have any clue of what this is actually leading up to? Not at all! If it mirrors Season 2′s format, though, it’ll suddenly come to a head in the last 3-5 lessons. I remember feeling equally clueless then, and Season 2 had a lot more foreshadowing...

... a lot of which actually didn’t pan out! But it might now.

Guardian Angels

Another smaller, but interesting detail. Guardian Angels are indeed a thing.

I think they’re gonna become a thing soon. The devs very sneakily changed a small detail in Season 2, suggesting they might have realized that it may interfere with their plans for later seasons.

Old version.

New version.

I’m thinking they may have decided giving Michael guardianship of an entire swath of the population was cheating, and they may be individualizing the role of Guardian Angels.

Which leads me to who I think Michael’s chosen human squeeze is:

My man has been scoping him out long before we came around.

It makes sense, too. We know Michael gave his Ring of Wisdom to Solomon, which seems to have kickstarted his career as a demon-pacting sorcerer (though he clearly was a sorcerer before this).

This is a very powerful item, described as the Ring of Light’s counterpart, that would be very useful for a high-ranking angel to possess. I don’t think Michael would fork it over to just anyone, particularly when we remember how he felt compelled to interrogate us via dream hi-jack before the Ring of Light fully came into our possession.

Solomon also makes Michael angst in a way a well-meaning but misbehaving child would make their parent angst:

Solomon also really doesn’t seem to regard Michael like some distant, all-powerful alien being who could smite him out of existence.

Contrast this with how he responds when he’s forced to hang out with Diavolo for a day (he gets more comfortable, but he initially wants to punt the responsibility back to Lucifer ASAP).

And he knows a surprising amount of small details about the guy:

I think Solomon is a significant part of Michael’s long-term plans, but he may not even be fully aware of how. Or he is, and they’re in some kind of mutually beneficial agreement -- possibly related to cross-realm peace -- that we simply haven’t been made aware of yet.

Personally, I think Simeon should be made MC’s ‘official’ Guardian Angel if they’re gonna be a thing with official mechanics behind them. I know Michael is supposed to be the Big Cheese and ridiculously hot, so it may make sense to have him linked to the MC of an otome game because they’re super special too, but Michael may already have Solomon. He shouldn’t get to hog everything. It’s not like assigning Simeon to do job would really inconvenience him, either: MC is Solomon’s apprentice. He can easily work with the arrangement.

Luke may feel left out but he’s a kid so...

Seven Brothers Constellation

We learn there’s a constellation representing the brothers in the Celestial Realm. Everyone there knows the legend, but Luke doesn’t know what the three stars ‘watching over them’ represent.

He, Mammon, and Satan begin to theorize and Satan suggests they may represent the three realms. The other two like the idea, and Mammon insists the ‘human’ star represents MC.

He’s probably right, but I’m willing to take it a step further: it represents MC, Diavolo, and Michael. The three “guardians” of their respective realms, and the brothers. Season 3 has been repeatedly beating us over the head with how much Michael still cares for the brothers and his relevance to their upbringing, and likely their future.

It bears repeating: Diavolo and Michael are aiming towards the same goal, though their visions of what peace and harmony looks like may be very different.

Solomon could also qualify as a self-appointed guardian, but I think he lacks the connection to the brothers MC obviously has.

Still, he has the same resolve, and he’s not leaving the story any time soon.

Predictions

I sniff out even the smallest Michael details because he’s clearly the key to whatever is gonna blow up.

This might give us some insight on how the initial dealings with him may unfold:

It’s hard to deduce just what this actually means. Either Michael tends to overthink things that just aren’t that deep (can empathize) and that in itself leads to needless complications, or he’s apt to misread situations and as a result gives poor advice. Or a combination of both.

My initial read on him makes me think that he thinks the best of humans/angels but the worst of demons. He is very, very complimentary towards MC as soon as they start answering his questions.

Am I now? Really?

It could just be the game making characters butter up the MC to make the game more enjoyable for the player of a self-insert character, but dude we just met.

When you tell him you did what you did out of love for Lucifer:

That’s a very telling pause/ellipsis. It’s like his brain momentarily short-circuits and he needs to regain his composure before he continues, and he still doesn’t sound entirely sure of what you just said lol

He also just outright admits he initially thought you must be wicked just because the brothers liked you, and this is a guy who is still fond of them himself. I think he’s having a very hard time with it.

So the inevitable bumps in the roads ahead with him will likely be a result of this, and/or his dad being an asshole. Neither he or Diavolo are actually in charge of the realms they’re overseeing -- they’re both de facto leaders -- so maybe the parents will suddenly barge in and try to knock over their sand castles for whatever reason. It is kind of weird that the exchange program has been agreed to in the first place, particularly on the Celestial Realm’s part.

Regardless, I have no clue what the next arc will be. I know we still have three trials left, but they could combine two again to leave more room for the actual storyline to progress. The climax is going to be the last trial of our sorcerer’s exam, or something happening afterwards. Not sure which one I’m willing to bet on yet: I remember Simeon’s play and the silly Blood Moon contest in Season 2 were what kept use preoccupied for Season 2 until SUDDENLY LUCIFER GETS AMNESIA AND THE WORLD IS IN DANGER AND WE HAVE TO STAB HIM TO SAVE EVERYONE. But they did heavily foreshadow that in the very beginning lol. They just didn’t fill in the blanks until much later.

I wonder what the trial of chastity is gonna be like and how hard we’ll actually fail and the game will need to overcompensate for that

#obey me #obey me!#obey me lesson 52 #obey me spoilers #obey me lucifer #obey me diavolo #obey me solomon #obey me simeon #obey me michael #obey me barbatos #analysis #obey me lesson 53 #obey me season 3

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