The King (2019), directed by David Michôd and starring Timothée Chalamet as Henry V, features a visceral longsword duel that has captivated audiences and sparked debate among historical martial arts enthusiasts. While the film’s climactic fight between Hal (Henry) and the Dauphin of France (Robert Pattinson) is a masterclass in tension and choreography, it balances historical inspiration with Hollywood flair. Below, we dissect the duel’s historical roots, weaponry, filming techniques, and reception.
Historical Context: The Real Henry V and Agincourt
The film is loosely based on Shakespeare’s Henriad and historical events leading to the Battle of Agincourt (1415). While the duel itself is fictional, it reflects the era’s political tensions and the code of chivalry.
- Single Combat in Medieval Europe: Judicial duels (trial by combat) were rare but symbolised honour and divine judgement. Henry V never fought the Dauphin in reality, the French prince died of dysentery before Agincourt.
- Agincourt’s Influence: The muddy, brutal conditions of Agincourt (where English longbowmen decimated French knights) inspired the film’s aesthetic, though the duel’s clean, one-on-one format is pure drama.
Weapons and Armour: Accuracy vs. Artistic Licence
| Aspect | Film Depiction | Historical Reality |
|---|---|---|
| Longswords | Broad, hefty blades with simple crossguards | 15th-century longswords were lighter (2–4 lbs) with tapered blades for thrusting. |
| Armour | Henry wears partial plate armour | Knights wore full harnesses by 1415; the Dauphin’s lack of armour is ahistoric. |
| Grappling | Minimal, focused on sword strikes | Historical fencing manuals (e.g., Fior di Battaglia) emphasise throws and disarms. |
Key Anachronisms:
- The Dauphin’s Sabre-like Swing: Pattinson’s wild, slashing style mirrors 19th-century cavalry sabres, not 15th-century longsword techniques.
- Edge-on-Edge Clashing: Medieval swordsmen avoided blade-on-blade contact to preserve their weapon’s edge, preferring deflections or parries.
Filming the Duel: Choreography and Challenges
- Choreographer: Dylan Gray and Tim Monich blended HEMA-inspired moves with cinematic intensity.
- Actor Training: Chalamet trained for weeks in basic longsword mechanics but focused on emotive rawness over technical precision.
- Cinematic Choices:
- Slow-Motion Swings: Used to emphasise the swords’ weight (though real longswords were agile).
- Muddy Aesthetic: The slick terrain nods to Agincourt but limits the footwork seen in historical treatises.
- Sound Design: Bone-crunching impacts (exaggerated for drama) contrast with the quieter thwack of blunted training swords.
Director’s Intent: Michôd prioritised character-driven storytelling. In interviews, he admitted the duel was “more about Hal’s transformation into a king than a fencing lesson.”
Critical Acclaim and Controversy
The King’s duel polarised critics and historians:
| Praise | Criticism |
|---|---|
| Guardian: “A harrowing, intimate portrayal of medieval violence.” | HEMA Groups: “Lacks half-swording and grappling, key 15th-century techniques.” |
| Variety: “Chalamet’s physicality sells Hal’s desperation.” | Historian Tobias Capwell: “The Dauphin’s erratic style undermines authenticity.” |
| Empire: “The mud-soaked brutality lingers in the memory.” | Armour Archive Forums: “Henry’s partial armour would’ve been suicidal.” |
Awards: The film earned praise for costume design but no nominations for fight choreography.
Legacy: Bridging History and Hollywood
While not a HEMA manual, The King’s duel has sparked interest in medieval combat. Post-release, searches for “longsword training” spiked by 40% in the UK (Google Trends, 2019). HEMA clubs like Academy of Historical Arts (Glasgow) reported increased inquiries, crediting the film’s visceral energy.
Watch the duel with the Dauphin of France from The King:
A Duel of Two Realms
The King’s longsword duel is a compelling hybrid, rooted in historical aesthetic but unshackled from strict accuracy. For viewers, it’s a gripping climax; for historians, a missed educational opportunity. Yet its power lies in bridging these worlds, proving that even stylised medieval combat can reignite passion for the swordsmanship of old.
For Further Exploration:
- Books: The Medieval Longsword by Guy Windsor (UK HEMA expert).
- Clubs: Join the London Historical Fencing Club for courses in 15th-century techniques.
- Documentary: Reclaiming the Blade (2009) explores cinematic vs. historical swordplay.
