Shadows on the Wall | William Tell

William Tell

dir-scr Nick Hamm
prd Marie-Christine Jaeger-Firmenich, Piers Tempest
with Claes Bang, Connor Swindells, Golshifteh Farahani, Jonah Hauer-King, Ellie Bamber, Ben Kingsley, Jonathan Pryce, Rafe Spall, Emily Beecham, Tobias Jowett, Solly McLeod, Sam Keeley
release UK 17.Jan.25,
US Jan.25 psiff
24/UK 2h13

TORONTO FILM FEST

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With an epic sensibility, the Swiss legend becomes a lavish action thriller set in spectacular locations and populated by a beefy cast. Writer-director Nick Hamm attempts a faux-Shakespearean tone with arch dialog that very nearly sinks the film. While the actors give it their all, characters are too thin to sustain the extended running time. So while there are some exciting moments, the movie tests the audience's patience.

In rural Switzerland in 1307, cruel henchman Gessler (Swindells) is sent by Austrian King Albrecht (Kingsley) to force locals in a rebellious village to declare loyalty. When the crossbow expert William (Bang) quietly refuses, Gessler forces him to shoot an apple off his son's (Jowett) head, while William's wife Suna (Farahani) watches in horror. Meanwhile, Gessler is being lined up to marry Austrian Princess Bertha (Bamber), but she is in love with the Swiss Prince Rudenz (Hauer-King), heir of a beloved king (Pryce). And William's resistance inspires others to take a stand against Austria's rule.

Echoes of Robin Hood and Braveheart ripple through this film, as a ragtag group of loyal rebels gather around William to take on the evil oppressor. They continually make earnest declarations to each other, which begin to feel corny due to the film's stiff, over-serious tone. And while some of the frequent action set-pieces feel choppily edited or oddly augmented with digital effects, several also have a gritty earthiness that brings them to life.

At the centre, Bang has terrific presence as the rather too-heroic William, nicely referencing his reluctance to return to fighting after his experiences in the Crusades (a brief flashback fills this in). Farahani and Bamber shine as very strong women who don't just sit on the sidelines, while the superb Swindells dives in even deeper as the scene-chomping villain. The cast is packed with excellent actors in lively smaller roles, although both Kingsley and Pryce are underused.

Without a more relatable sensibility to pull us into the story, the film feels oddly uninvolving, a spectacle we watch rather than experience. The perspective is splintered, which leaves the most engaging figures off-screen for extended periods, stalling the narrative momentum. Still, the film looks terrific, making the most of a mid-level budget by skilfully utilising picturesque locations and actors who are unafraid to dive into the fray. What emerges is almost inspiring enough to earn the final tease that a sequel is coming.

themes, language, violence 8.Jan.25

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