William Tell review: Claes Bang fails to inspire rebellion in historical epic

In essence, it’s said that way back when, Wilhelm Tell might not have been a real person. However, if he was, one could imagine he displayed more determination and passion than Claes Bang manages in this run-of-the-mill historical film.

In a new take, Nick Hamm (of “The Hole”) directs William Tell, which is one of at least five films inspired by Friedrich Schiller’s 1804 play bearing the same title. This story is rooted in centuries-old tales that are now considered legends, and this version stands out as the most extravagant and violent adaptation yet.

Incorporating modern elements, I found some aspects reminiscent of the past, yet not without their drawbacks. The script seemed worn out at times, and the storytelling felt bloated. Moreover, the lead actor’s portrayal didn’t quite live up to the grandeur the film aimed for.

As a passionate cinephile, I’d rephrase that as follows: Instead of portraying Hamm and Bang’s characters as fierce warriors determined to protect their land, I prefer to imagine them as modest marksmen, deeply scarred by past conflicts and hesitant to engage in another battle. However, despite the compelling characterization, I find the Danish actor struggles to breathe life into this complex portrayal.

A more forceful expression might be: The story is lacking in impact. It’s hard to accept that such a person could have inspired their followers, or that this story has survived for so long if the central character was ordinary.

In a different wording, the portrayal of Bang’s legendary character lacks the intimidating presence he exhibited as Fjölnir in Robert Eggers’s The Northman. To make matters worse, it appears that the actor himself is lacking enthusiasm and enjoyment during his performance.

Connor Swindells enjoys taking on the character of Tell’s adversary, Albrecht Gessler, who is depicted as a viceroy. The British actor puts forth the energy needed to embody this self-proclaimed “villain in thought and action.

The dynamic between Gessler and Tell serves as the central focus of the legend, and the film’s most gripping moment unfolds when Tell is captured for refusing to pledge allegiance to the king. In this tense scene, Gessler coerces Tell into firing an arrow at an apple placed on his son’s head from a distance of 20 paces.

If you’re familiar with the Tell legend, it’s likely you’ll find that the movie starts right away with Tell taking aim. Starting with a cold opening can be effective, but in this case, it might indicate that there’s a lack of trust in the story itself or perhaps in the audience’s readiness to engage without some initial guidance.

The movie features a multitude of side characters, such as Jonathan Pryce’s Baron Attinghausen and his indecisive nephew (Jonah Hauer-King), along with Ben Kingsley’s King Albert, who sports an eye patch, and his stormy niece (Ellie Bamber).

Some supporting characters appear underdeveloped, and the performers find it challenging to infuse authenticity into Hamm’s historical discourse that frequently confuses stereotypes with rallying cries.

The battles are played out enthusiastically, though it’s not always certain how many Swiss soldiers are involved. However, there are instances of extreme brutality that make the fighting more intense.

At times, the narrative flow can be disrupted due to certain edits. In one instance, Hamm orchestrates a sudden assault by Swiss women on an Austrian-held castle, only to shift focus to Tell’s activities elsewhere momentarily. The scene then cuts back to the consequences of both events, followed by a flashback detailing the outcome of the castle attack.

During some scenes, the storyline can get confusing because of certain edits. For example, there is an unexpected attack on an Austrian-occupied castle by Swiss women, but then the focus shifts to another character before returning to the outcomes of both events. Later, we learn about the result of the castle attack through a flashback.

A film with more rhythm could have alternated between scenes to create suspense and showcase the changing fate of the Swiss characters.

Remarkable mountain vistas captured from stunning angles, along with cleverly placed stunts like the camera being attached to a crossbow or following an arrow’s trajectory, make this film visually appealing.

However, Hamm’s repetitive cautionary statements about the grim realities of war, along with a flimsy script and a leading role that lacks impact, suggest that this traditional historical drama falls short of its intended mark.

This version maintains the original meaning but aims to be more accessible and easier to understand for a wider audience.