Best Period Movies Set In The Middle Ages

This is a really good one – another big one. Curse me and my ambition! There have been so many classic period movies set in the Middle Ages. From lesser known films with cult followings to huge grossing blockbusters, as long as motion picture has existed as an art form, there have been movies set in the Middle Ages. Some have used this setting to tell timeless stories without much focus on historical accuracy – while others have used real events as inspiration but perhaps ignored the playbook a little. Needless to say, this post will miss… the vast, vast majority worth writing about – but I’ll include just a few to set off your imaginations. No need to thank me.

The Seventh Seal (1957 – Ingmar Bergman)

This Swedish flick is a historical fantasy. I hear you question whether it truly is a period movie but I think most stories are fantastical – having an element of transcendent meaning and all that. In fact, this period piece movie doesn’t really have anything to do with the Middle Ages. It uses it as a setting to tell a timeless story – an allegory if you will. That’s because this story is all about death. It tells the story of a medieval knight: Antonius Block (Max Von Sydow), returning from the Crusades alongside his squire: Jons (Gunnar Bjornstrand), to potter around plague-stricken Denmark. On a rocky beach, Block encounters Death (Bengt Ekerot) in a rather fetching black robe. Death agrees to spare his life if he wins their game of chess.

Returning from a meaningless crusade, Block seeks to perform a meaningful act while Death looms. A group of flagellants (people that whip themselves), interrupt an act in town. The preacher leading the merry band, speaks of the Plague and everyone’s impending death. Amidst all of this, the manager of the acting group (Jonas) runs off with the local blacksmith’s wife (Lisa). When the blacksmith (Plog) catches Jonas with his wife, they manipulate him. Lisa returns to him and decries Jonas while he insults Plog. Meanwhile, Jons can predict every twist and turn in the altercation. Jonas convinces Plog he’ll kill himself and Plog can no longer justify whacking him with his hammer. They are all playing an act while Death now looms over all of them. Perhaps this speaks to the condition in which we live. We always seek problems to solve, in the belief salvation is just round the corner, but death waits like a spectre every moment.

The Verdict

The beginning and end defines our idea of life. So would we even have a life if death didn’t bring it to an end? Lightness and comedic flair is sprinkled throughout this timeless story. It certainly isn’t faithful to the time it’s set, unlike other period movies. That whole flagellation thing didn’t happen in Sweden and there’s a witch persecution, which didn’t happen until the 15th century. But this film doesn’t depend on historical authenticity.

8/10

The King (2019 – David Michod)

This may be a controversial one among period movies – but it tells another timeless story that doesn’t pretend to be faithful to the real events that perhaps inspired it. Because this is an adaptation of an adaptation. Shakespeare’s Henriad – a set of plays that tell the story of olde English Kings – is the basis for the story. King Henry V (Timothee Chalamet) reluctantly ascends to the thrown, inheriting a civil war and the responsibility of returning the rightful crown of France to the English. Hal (as some know him) resents his paranoid and bitter father, who is starting more new feuds than he can resolve. Hal vows to settle his father’s disputes and bring peace to the kingdom. But the French King sends a ball as a mocking gift following his coronation, followed by an assassin, and the Chief Justice Sir William Gascoigne (lets call him William – played by Sean Harris), encourages him not to sit idle but to rightfully take the French crown and protect the kingdom.

Good Ole John

Hal solicits the help of an old friend: John Falstaff (Joel Edgerton), to lend his military experience in waging a battle on French soil. But amidst this is the real story, behind the political manoeuvres. While his advisors and political allies have ‘their own kingdoms behind their eyes’, Hal seeks a friend he can trust. Falstaff doesn’t seem touched by similar ambitions and is honest with him – he genuinely seems to want what’s best. He has little to lose and after Hal settles his debt with a grumpy landlady, they set sail for France. They successfully siege Harfleur and the flamboyant Dauphin of France (Robert Pattinson), vows to punish and drive them out. He beheads one particularly unfortunate English boy and makes another carry his severed head back to the English camp. In a fit of rage, Hal orders John to execute all their prisoners. John calmly refuses as he believes Hal is ‘not that man’.

John is mostly silent during discussions of battle strategies and soberingly honest. He is cynical about war and the motivations of men. It’s clear Hal doesn’t know what he’s seeking in France – but in John he has a true friend. Nevertheless, they win the Battle of Agincourt, defeat the Dauphin and King Charles VI surrenders (seemingly just like that) – but this also comes at the cost of John’s life. Hal agrees to take the hand of Catherine of Valois in marriage and will accede to the throne of France upon Charles’ death. Hal restores peace to the kingdom – but Catherine reveals to Hal there was no plot to assassinate him. He questions William to find he had a substantial amount of land to gain in France and concocted a fake plot as a pretence for war. William manipulates Hal like a child and he loses his one true friend in John. Ultimately, Hal has become distrusting and resentful, as was his father.

The Verdict

Perhaps this story speaks to the way we live our lives. Everyone is seeking something and there’s a very real absence of love in this lonely seeking. Chalamet, Edgerton and Harris deliver brilliant performances and the cinematography is beautiful. Nicholas Britell’s score is deeply dark and brooding – stuck in my head forever! Also, the Battle of Agincourt is relentlessly disorienting, graceless and hellish – which I guess is good! You can’t fairly criticise it for its historical inaccuracy unlike some other period movies as it deviates significantly from Shakespeare’s play, never mind the real events. The real King Henry V has concerted expansionist ambitions. He also takes his Father’s place and implements new policies in council while his health is ailing – he displays a keen interest in government.

There’s much you could point to, especially if you’re familiar with Shakespeare’s works, but the central story and the performances really elevate this period movie.

7.5/10

Andrei Rublev (1966 – Andrei Tarkovsky)

This is one of the most beautiful period movies – at times, serene and meditative and at others, deeply contemplative and touching. Tarkovsky uses Andrei Rublev’s (Alexander Solonitsyn) life as a vehicle for depicting the faith of the artist and as such, this period piece movie is only loosely based on his actual life. Andrei struggles to believe in what he does. In the Summer of 1408, in a church in Vladimir, The Grand Duke instructs them to paint The Last Judgement. But the walls remain bare, the Bishop complains of their lack of progress, and Andrei doesn’t want to depict eternal damnation. At other times, others confront Andrei with their cynicism. Theophanes the Greek (Nikolai Sergeyev) states that people turn on you, comparing it to the denial of Christ by his disciples before his crucifixion.

Amidst the chaos of warring families and the Tatar invasion, perhaps Andrei struggles to feel a sense of transcendent value in his work. In the Autumn of 1408, the Grand Duke’s brother invades Vladimir and burns Andrei’s paintings, massacring the people inside. He kills a Tatar soldier, stopping him from raping the young woman: Durochka (Irma Raush). Ashamed of his actions, he takes a vow of silence and becomes disillusioned with his work. He has a vision of the deceased Theophanes the Greek, who has nothing to argue about anymore but says Andrei must linger someone between his own torment and God’s forgiveness. The situation perhaps drives Andrei towards Theophanes’ claims that people tend to forget and turn on you. The fight reduces Andrei’s work to ashes, embroiled in a fight that isn’t his.

The Verdict

But many years later, in 1423, events seem to restore Andrei’s faith. When he quietly observes young Boriska (Nikolai Burlyayev) in directing the construction of the Grand Duke’s bell, he sees the joy brought by it’s sounding and urges Boriska to work with him. It is that transient, fragile joy that restores his faith. Even though they act in service to callous aristocrats with completely different motivations, the simple joy his work could bring, was his motivation. It was his reason to devote himself wholeheartedly through his talent, to his truth. While the majority of this period movie is in black and white, the epilogue, displaying Andrei’s icons, is in colour. While the movie is only loosely based on the actual life of Andrei, it uses him to drive its theme. This is a beautiful film and the dubbing which may seem a detraction, doesn’t drag it down. What’s more, various sources regard it to be one of the best period piece movies of all time.

It tells the story of the indecision of a man that struggles to find a channel for his vision. Everywhere he goes, he’s presented with barriers and sorrow, and reasons to believe his sacrifices are merely in vain. Andrei doesn’t lack in courage, just evidence to believe what he does matters.

And on a side note, Stalker is another brilliant Tarkovsky movie.

9/10

Want to see some more commentary on the best period movies about different eras? See the Best Period Movies of The 90s.