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What exactly is the Holy Grail – and why has its meaning eluded us for centuries?

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Type “Holy Grail” into Google and … well, you probably don’t need me to finish that sentence. The sheer multiplicity of what any search engine throws up demonstrates that there is no clear consensus as to what the Grail is or was. But that doesn’t mean there aren’t plenty of people out there claiming to know its history, true meaning and even where to find it.

Modern authors, perhaps most (in)famously Dan Brown, offer new interpretations and, even when these are clearly and explicitly rooted in little more than imaginative fiction, they get picked up and bandied about as if a new scientific and irrefutable truth has been discovered. The Grail, though, will perhaps always eschew definition. But why?

The first known mention of a Grail (“un graal”) is made in a narrative spun by a 12th century writer of French romance, Chrétien de Troyes, who might reasonably be referred to as the Dan Brown of his day – though some scholars would argue that the quality of Chrétien’s writing far exceeds anything Brown has so far produced.

Chrétien’s Grail is mystical indeed – it is a dish, big and wide enough to take a salmon, that seems capable to delivering food and sustenance. To obtain the Grail requires asking a particular question at the Grail Castle. Unfortunately, the exact question (“Whom does the Grail serve?”) is only revealed after the Grail quester, the hapless Perceval, has missed the opportunity to ask it. It seems he is not quite ready, not quite mature enough, for the Grail.

But if this dish is the “first” Grail, then why do we now have so many possible Grails? Indeed, it is, at turns, depicted as the chalice of the Last Supper or of the Crucifixion or both, or as a stone containing the elixir of life, or even as the bloodline of Christ. And this list is hardly exhaustive. The reason most likely has to do with the fact that Chrétien appears to have died before completing his story, leaving the crucial questions as to what the Grail is and means tantalisingly unanswered. And it did not take long for others to try to answer them for him.

Robert de Boron, a poet writing within 20 or so years of Chrétien (circa 1190-1200), seems to have been the first to have associated the Grail with the cup of the Last Supper. In Robert’s prehistory of the object, Joseph of Arimathea took the Grail to the Crucifixion and used it to catch Christ’s blood. In the years that followed (1200-1230), anonymous writers of prose romances fixated upon the Last Supper’s Holy Chalice and made the Grail the subject of a quest by various knights of King Arthur’s court. In Germany, by contrast, the knight and poet Wolfram von Eschenbach reimagined the Grail as “Lapsit exillis” – an item more commonly referred to these days as the “Philosopher’s Stone”.

None of these is anything like Chrétien’s Grail, of course, so we can fairly ask: did medieval audiences have any more of a clue about the nature of the Holy Grail than we do today?

Publishing the Grail

My recent book delves into the medieval publishing history of the French romances that contain references to the Grail legend, asking questions about the narratives’ compilation into manuscript books. Sometimes, a given text will be bound alongside other types of texts, some of which seemingly have nothing to do with the Grail whatsoever. So, what sorts of texts do we find accompanying Grail narratives in medieval books? Can this tell us anything about what medieval audiences knew or understood of the Grail?

The picture is varied, but a broad chronological trend is possible to spot. Some of the few earliest manuscript books we still have see Grail narratives compiled alone, but a pattern quickly appears for including them into collected volumes. In these cases, Grail narratives can be found alongside historical, religious or other narrative (or fictional) texts. A picture emerges, therefore, of a Grail just as lacking in clear definition as that of today.

Perhaps the Grail served as a useful tool that could be deployed in all manner of contexts to help communicate the required message, whatever that message may have been. We still see this today, of course, such as when we use the phrase “The Holy Grail of…” to describe the practically unobtainable, but highly desirable prize in just about any area you can think of. There is even a guitar effect-pedal named “holy grail”.

Once the prose romances of the 13th century started to appear, though, the Grail took on a proper life of its own. Like a modern soap opera, these romances comprised vast reams of narrative threads, riddled with independent episodes and inconsistencies. They occupied entire books, often enormous and lavishly illustrated, and today these offer evidence that literature about the Grail evaded straightforward understanding and needed to be set apart – physically and figuratively. In other words, Grail literature had a distinctive quality – it was, as we might call it today, a genre in its own right.

In the absence of clear definition, it is human nature to impose meaning. This is what happens with the Grail today and, according to the evidence of medieval book compilation, it is almost certainly what happened in the Middle Ages, too. Just as modern guitarists use their “holy grail” to experiment with all kinds of sounds, so medieval writers and publishers of romance used the Grail as an adaptable and creative instrument for conveying a particular message to their audience, the nature of which could be very different from one book to the next.

Whether the audience always understood that message, of course, is another matter entirely.

in theconversation.com by Leah Tether

 

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JORNADAS TEMPLÁRIAS PARA O CONHECIMENTO ECUMÉNICO

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As “Jornadas Templárias para o Conhecimento Ecuménico” decorreram nos passados dias 13, 14 e 15 de Abril/2018, em Lagos, no Algarve.

 

As Jornadas constituíram-se de um “Trivium”:

A – Integrando um conjunto de actividades, constituindo-se de uma “Feira de Cultura Regional”, com área expositiva da Ordem dos Templários, feira-do-livro, artesanato, doçaria regional e conventual; que decorreu no Armazém Regimental nos dias 13, 14 e 15.

B – Assim como, no dia 14, sábado, realizaram-se as Jornadas do Conhecimento propriamente ditas, no Auditório do Edifício da Câmara Municipal – Lagos Séc.XXI, entre as 09:30 e as 18:30, com um conjunto de palestras, por Dignitários convidados, que abordaram o tema proposto na perspectiva da corrente doutrinária, filosófica, sociológica, espiritual ou religiosa que professada por cada um dos ilustres convidados.

Cada prelecção durou até 40 minutos, em que o orador respectivo expôs a sua comunicação dentro do Tema escolhido para este Ano – Esperança e Caridade. As comunicações não foram sujeitas a período de perguntas nem a contraditório, procurando-se a construção de um Conhecimento Ecuménico, pelo reconhecimento e aceitação da diferença, a partilha de realidades, a abertura pelo entendimento a diferentes Verdades.

A abertura dos trabalhos decorreu com uma actuação musical, pelo Grupo Coral de Lagos, com trechos medievais dos Séc. XIV e XV.

As Jornadas Templárias tiveram entrada livre a Toda a Comunidade e Organizações. Todos foram muito bem-vindos.

A Organização esteve a cargo da Comenda de Laccobriga e contou com o alto-patrocínio da OSMTHU – Priorado Ibérico da Ordem do Templo, o apoio da Associação Lagoriente – Al-Gharb, da Associação Grupo Coral de Lagos, do Exército Português, da Junta de Freguesia de São Gonçalo de Lagos e da Câmara Municipal de Lagos, assim como o apoio de diversas Organizações da Sociedade Civil nacional.

Objectiva-se a elaboração de um resumo das comunicações das Jornadas, bem como a elaboração da Acta das Jornadas Templárias, com o objectivo final de publicação deste conhecimento e a divulgação do mesmo junto de diversos Organismos da Sociedade, assim como a sua difusão dentro da Ordem do Templo.

Foram convidados oradores representantes de Confissões Religiosas, de Instituições étnicas e convidados da sociedade civil, nomeadamente:

Igreja Católica Romana, Maçonaria Regular, Judaismo, Peregrinos de Santiago, Entidades de Solidariedade Social, Templários e Investigadores Académicos.

Considerando-se que este é um tema central, quer no ternário das virtudes teologais: Fé, Esperança e Caridade; quer na constelação mítica e histórica da identidade portuguesa; eis então o motivo primeiro da escolha do tema para esta primeira edição das Jornadas Templárias para o Conhecimento Ecuménico. Pelo que a Comenda de Laccobriga da OSMTHU deseja, desta forma, poder inculcar a semente em Todos aqueles que, durante este dia, buscaram o conhecimento ecuménico, a aceitação e a partilha, caminhando para um mundo melhor, mais fraterno, de paz, em que os valores crísticos sejam a bandeira que possamos elevar bem alto.

C – No dia 15, domingo, pela manhã, decorreu uma cerimónia solene, interna à Ordem mas aberta a todos os Irmãos de todos os Ramos Templários; chamamento que, de forma fraternal, teve eco e que, nesta celebração eucarística da Igreja Joanita Templária, a Egrégora saiu reforçada, os Irmãos preencheram os seus corações e cumprimos  mais uma etapa deste Caminho para a missão a que nos haviam incumbido.

Arrolamos aqui também, outra trindade, entre o Infante Henrique de Sagres, el-Rei Dom Sebastião e a Rainha Santa Isabel de Portugal. Ainda que vindos por caminhos diferentes, encontrar-se-iam ao centro, fundindo, num só, dois aspectos complementares da espiritualidade portuguesa. Pelo caminho de Sebastião vinha a esperança no resgate  espiritual e temporal do povo português. Pelo de Isabel, a universalidade do amor, aspecto central no impulso da dádiva e da caridade. Teríamos, então, a Esperança e a Caridade. E, de Henrique, o Navegador, temos esta bela terra de Laccobriga, capital de antanho do Reino do Algarve, sede deste caminho para Ocidente em busca do Oriente, herdeira do entreposto marítimo na demanda da Jerusalém.

Resta-nos, agradecendo a participação de todos, a Todos convidar e vincular para as segundas Jornadas Templárias para o Conhecimento Ecuménico, a realizar em 2019, em Lagos. Juntai-vos a Nós neste desígnio que a Todos nos envolve.

No nobis Domini, no nobis, sed Nomini Tuo da Glóriam

A Todos Vós, meus irmãos, Boas Jornadas.

 

PROGRAMA ::

 

+ Dr Luis de Matos, Prior Geral do Priorado Ibérico O::S::M::T::H::U::

+ Prof. Manuel Gandra, Apresentação do Livro: Alquimia

+ Dr Joaquim Jorge, Presidente da AMAYUR – Ayurveda

+ Dr Jaime Ramos, Presidente da Fundação A.D.F.P.

+ Pe José Manuel, Pároco da Praia-da-Luz

+ Drª Isabel Quirino, Psicóloga, Peregrina dos Cam. de Santiago

+ Ms Susana Karina, Tese Mestrado – Memórias de Santiago

+ Prof. Manuel Gandra, Filósofo, Investigador e Autor

+ Dr Luis Fonseca, Deputado Mestre em Portugal do G:.P:.R:.D:.H:.

A Knight’s Tale

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Paddy Houlihan from Ballybeg is maintaining and promoting an almost forgotten site of significant historic interest – the Knights Templar Graveyard, Kilbarry.

AN IMPORTANT piece of Waterford’s history and heritage is being preserved and promoted thanks to the Trojan efforts of one local man and his granddaughter.

In a fantastic display of community spirit and pride of place, Paddy Houlihan from Ballybeg Square embarked on a project to improve the condition of the Knights Templar Graveyard in Kilbarry some years ago.

Paddy had become increasingly concerned for the condition of the graveyard which is located near Lacken Road Business Park and Templars Hall.

The Knights Templar were an international military order set up to protect pilgrims travelling to the Holy Land.

They arrived in Ireland in the late 1100s after the Norman invasion of 1169-71 and the witnessing of an Irish charter by Matthew the Templar in 1177.

They fell out of favour with the King of France in 1307, were persecuted on the continent and closed down in England and Ireland.

Their estates were handed over to their rivals, the Knights Hospitaller, but Kilbarry was one of three preceptories in Ireland retained for the Templars for the remainder of their lives.

The remains of the church of St Barry are located within the Kilbarry Knights Templar Graveyard.
Beside the church, a row of mortared stone buildings with slate roofs were located along with a row of large wooden buildings, probably barns.

Records show that the church, which was located on a slope overlooking a tidal marsh that extended to the River Suir, was in good repair until 1615 when it was still in use and serving the parish. The earliest headstone in the graveyard dates back to 1598 and the latest is dated 1856.

The graveyard lay more or less idle since the mid-1800s and, in the modern era, was believed by many to have been a famine graveyard.

Paddy Houlihan says many local people, including himself and his family, have many fond memories of playing in the area. He recalls the graveyard being a favourite location in which to explore with his brothers and sisters when growing up. “Everybody around this side of the city played in the area,” he explained.

In recent years, Paddy became concerned because of the huge growths of ivy throughout the graveyard, the high grass growths, and the many overhanging trees.

Along with his granddaughter Katie (his trusted sidekick and ‘Project Manager’), they spent countless hours engaging in efforts to clean-up the graveyard. More than 40 headstones/tombstones are located in the graveyard and, during the duo’s work, five tombstones were uncovered which had been hidden in the undergrowth. All of the names on the stones have now been recorded, and the graveyard’s condition has improved immensely.

in munster-express.ie by Kieran Foley

Last Supper: What Wine Was Served at Jesus and the Apostles’ Final Meal?

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The Bible offers a pretty comprehensive answer to the question ‘WWJD?’: what would Jesus do? But, as Christians observe Easter and the Last Supper another question arises: what would jesus drink?

To answer this question, the location and timing of the final meal that Jesus had with his disciples before he was crucified is key. And three of four of the accounts of Jesus’ life in the Bible – known as the Gospels – suggest that it took place on the last Thursday celebration of Passover in around AD 30,  Father Daniel Kendall, Professor of Theology and Scripture at the University of San Francisco told wine app Vivino.

“Unlike John the Baptist, Jesus drank wine,” explains Father Kendall, adding: “From the descriptions it was most likely a Seder meal. Since it was and is the most important of Jewish feasts, wine would have been part of the festivities.”

While grape varieties may not have been named and identified as they are now, wine had been made in this part of the Middle East since around 4000 BC.

Archaeological evidence suggests that around the time of the last supper, rich, concentrated wines were popular, says Dr Patrick McGovern, Adjunct Professor of Anthropology at the University of Pennsylvania and director of Biomolecular Archaeology Project for Cuisine, Fermented Beverages and Health at the University of Pennsylvania Museum in Philadelphia.

In Judah more specifically – near Jerusalem where the Last Supper is said to have taken place – archaeologists have found a jar inscribed with: “wine made from black raisins”. This means that winemakers may have used grapes dried on the vine or in the sun on mats to create sweet, thick drinks. At sites nearby in the region, jars labelled “smoked wine” and “very dark wine” have also been found.

While it was common to water down wine at the time, there was a taste in Jerusalem for rich, concentrated wine, according to Dr McGovern.

Spices and fruits – including pomegranates, mandrakes, saffron and cinnamon – were used to flavour such wines, and tree resin were added to help preserve them. So, the wine drank at the Last Supper, then, might resemble the mulled wine some of us drink at Christmas.

Today, comparable bottles would include Amarone, which is made in Northern Italy with grapes dried on straw mats.

While it’s unclear exactly which wine Jesus drank at the last supper, Dr McGovern jokes: “If someone can find me the Holy Grail and send it to my lab, we could analyse it and tell you.”

in The Independent

The historical reality of the Templars of ‘The Da Vinci Code’ and ‘Assassin’s Creed’

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The planning was meticulous. Signed and sealed, laden with accusation and instruction, the letters were sent by the king to local authorities throughout his realm. They were to act exactly one month later, simultaneously and at the crack of dawn — on a Friday the 13th, as it happened. The targets were unaware of what lay in store, their leader even spending time with the king and seeming to enjoy his favor. The hour came, and armed men launched their surprise, summarily carrying off hundreds to the king’s dungeons, and many ultimately to their deaths. It was a performance reminiscent of a Stalinist purge or Hitler’s Night of the Long Knives.

The year was 1307, and the month was October. The king was Philip IV of France. And his victims were all members of the order of “the Poor Fellow-Soldiers of Christ and the Temple of Jerusalem,” better known as the Knights Templar — or simply the Templars. Over a period of two centuries, this charitable and military order of Crusaders had grown in power and wealth. At a stroke, and with the acquiescence of a weakened pope, Philip destroyed the order, imprisoning its leaders and burning many at the stake. “God will avenge our death,” said James of Molay, the last Grand Master, as he faced the flames on an island in the Seine.

And, in a way, God has. The Templars live on in popular culture — from the video game “Assassin’s Creed” to Dan Brown’s “The Da Vinci Code.” Philip IV does not.

Dan Jones, the author of well-regarded histories of the Plantagenets and the Wars of the Roses, obviously gives no credence to the conspiratorial fantasies that have been spun around the Templars over the years. No, they do not guard the Ark of the Covenant or the Holy Grail, and never did. No, a surviving remnant does not protect the identities of the descendants of Jesus and Mary Magdelene. No, the order does not secretly run the world — that’s the Trilateral Commission or maybe Skull and Bones. In “The Templars,” Jones relegates this curious afterlife to an epilogue. His aim is to present a gripping historical narrative, and in this he succeeds.

The raw material is rich. Founded by a French knight in 1119, after the successful First Crusade, the Templars began with a mission to protect throngs of pilgrims now traveling to the Holy Land. The members of the order wore white robes with a distinctive red cross, embraced personal poverty and lived according to a regime codified by the great Cistercian abbot Bernard of Clairvaux. A papal charter was followed by a papal decree granting the Templars an exemption from taxes and local laws, effectively creating a transnational entity whose members could go anywhere. As Jones describes it, the order comes across as a combination of Blackwater, Goldman Sachs, Kroll International, FedEx, Fort Knox, Bechtel and, well, the Red Cross.

The financial acumen of the Templars was considerable. In the post-“Da Vinci Code” era, visitors to London often make their way to the Temple Church, between Fleet Street and the Thames, built in the mid-12th century. The circular nave — typical of Templar churches — is the oldest part of the structure and was used as a repository by English nobles and by the Crown itself. “By the 1240s,” Jones writes, “the order was providing diverse financial services to some of the richest and most powerful figures across Christendom.” The Templars “guaranteed debts, ransomed hostages and prisoners of war on credit, and could arrange very large loans — such as the one made in 1240 to Baldwin II, the emperor of Constantinople, and secured by his very own fragment of the True Cross.”

The order’s military record was mixed. In 1187, an army of Templars and others, under King Guy of Jerusalem, was surrounded and slaughtered by the sultan Saladin in his successful campaign to restore Palestine to the Muslim fold. Saladin had played his hand skillfully: stopping up wells even as he enticed the Christians farther into the searing flats; pausing long enough to allow dehydration to take its toll; then moving in for the kill. Some 200 Templars were captured, and Saladin beheaded them all.

That was an unhappy episode, but the Templars had another century of influential life in front of them, until that Friday the 13th in 1307. Philip IV was pious, paranoid, unscrupulous and mercurial — and deeply in debt to the Templars. It was all too easy to manufacture charges of heresy, blasphemy and sexual depravity: urinating on the cross, having sex on the altar — the usual allegations. The power and secretiveness of the Templars only fueled the charges. The decisive blow was struck in France, but within a few years the Templars were extinct throughout Christendom, except in the popular imagination.

“The themes of the Templar story resonate powerfully today,” Jones observes. He rightly does not pontificate about this and draws no specious parallels, but the reader can’t help recognizing familiar territory. There is the preoccupation in the West with what we now call the Middle East. Religions collide and atrocities abound. Cries of “Allahu akhbar” pierce the din of battle. The power of states is threatened, or seen to be threatened, by unaccountable forces with global tentacles. Information is unreliable and easily manipulated, allowing conspiracy theories to take root and spread.

Nothing is left of the Templars except words on parchment and ruins in stone. An older crusading order with certain similarities, the Knights Hospitaller, does still exist, after a fashion — its genetic progeny are the Knights of Malta. They have a palatial headquarters on the Aventine in Rome. They have a papal charter and enjoy quasi-sovereign status. They can issue their own passports. They maintain diplomatic relations with a hundred countries. And, like the Templars, they do not rule the world.

By Cullen Murphy in The Washington Post

‘Knightfall’ – Tom Cullen Interview on Playing a Templar Knight on a Quest for the Holy Grail

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Tom Cullen Knightfall Interview:

Did you have to do any extra training or had you already known how to use the sword?

Tom Cullen: “In drama school in the UK we do a lot of fight training, and so I’d done a lot of sword training prior. And,I found that I had the propensity for killing people, ironically. (Laughing) So, I’d actually done extra exams and had some practice while studying in drama school but that was about eight years ago. I hadn’t swung a sword in about eight years, so it was all very new in many respects.

The stunt team that we had was led by an amazing Frenchman, Cédric Proust. He is a top stuntman and fight choreographer. He really put us through it and we had a great swordsman called Roman. The entire team wanted us to be at a very, very high level. Every day on set they would drill us and I did about three months of physical training beforehand to get myself and my body ready for the fighting portion of my character and the series.

We also did a two and a half week boot camp where we would walk in the morning and do some circuit training and then do fighting in the afternoon. Later, we’d go horse riding and do some more sword training and then we would go to the gym. When it came to the actual filming, because there were a lot of fight scenes I was filming 14 hours a day doing scene work and then I’d have to do my fight training either on my lunch breaks or on the weekends. Any kind of second in the day that I did have I would fill it by going up to the stables and ride.

Working on Knightfall was a full-on experience because the team wanted it to look authentic and real, and when you watch the fights they are absolutely incredible. I’m so proud of all of the actors who’ve participated in the battles because we’ve really done a great job. The stunt guys have really trained us well and they’re epic battles and muddy and gruesome. And they feel very real, which I think is something I’m very proud of.

There is an incredible battle sequence in the final episode which is the biggest thing I’ve ever been involved in. We had like 400 guys on a battlefield fighting for about two weeks. It’s epic and amazing. And the real geek, nerd in me – because I am one – just can’t believe that I’m in it. I’m extremely proud of it.”

How much research did you do?

Tom Cullen: “Whenever I have done a historical piece, I think it’s imperative that you have to bathe yourself in as much literature to understand the world as much as possible, so that when you get onto the set, the world is just vibrating inside you. I wanted to know as much about the Crusades and about the politics at the time. Not just the politics in Europe or in the Middle East, but also Mongolian politics because they had a huge influence.

You just need to immerse yourself in the world and know everything that these men would have known, understand every single permutation and the political permutation that is affected where they are at this point and what drives these men and women to do the things that they do. I think that’s something that you have to do, otherwise it’s just lazy and in a way unforgivable because at that point that’s where you make mistakes.

You take history for granted and history should never be taken for granted because it’s essential for us furthering ourselves as a society and as a culture, because the one thing that history teaches us is that it’s cyclical. And so, yes, I read a lot and we had a fantastic historian on set. His name is Dan Jones. He’s just released an amazing book that you must read called The Templars which is on the New York Times Bestseller’s List. It’s brilliant. He was there on hand at all times feeding into us and making sure that what we were portraying was as accurate as possible. Anything that would come up in the script that we didn’t know, we would use him as a source of knowledge and he would say, ‘Go and read this, go and read that,’ or just tell us because he’s a real fountain of knowledge.

And that wasn’t just the access that put me in the world of the Knights Templar. […] The costume design, the art direction, the production design, makeup, etc. it was all so dense and real that you feel like you’re right in it as soon as you turn up on set. It’s just all there for you, you know, and you can really immerse yourself into the world.

The days we spent on set were amazing. We filmed on the biggest sets in Europe at Barrandov Studios. They built Medieval Paris. I’ve never seen anything quite like it. In the show, I have to do this shot where I’m riding down this nearly 200-meter long street that they built. And there are 350 extras and each extra has a job, each extra has a name. And it’s live, real world and you just forget that the cameras are there because it’s so extraordinary.

Our costume designer, Diana Cilliers, was amazing. I remember the first time we did our screen test, which is where you put on the costume in front of camera and you kind of like pose and walk around so they can see what it looks like on camera with the makeup and the hair and all of that kind of stuff. I remember putting the costume on, the chainmail and everything, and it weighed 50 pounds which was like an insane amount of weight. I struggled to walk down the corridor to get to the studio to do the screen test.

I was like, ‘Guys, why is the costume so heavy? How are we supposed to move and fight in this?’ And the answer was that Diana tried out lighter material such as plastics and other materials but they just didn’t look authentic. And so they put us in the most authentic costume that they could and we just had to deal with it. We got bigger and we got stronger, and so very quickly we were able to run and jump, get on horses in the 50-pound costumes and do everything that we needed to do to play our parts. But, you know, you can see the difference in the way that the costumes move and the way that your body moves in them. It’s just authentic and I think it makes for a very real experience when watching the show.”

Can you talk about Landry’s relationship with Godfrey, played by Sam Hazeldine?

Tom Cullen: “So the relationship that Landry has with Godfrey runs throughout the entire first season. And so in episode one, Godfrey is Landry’s surrogate father. Landry was an orphan and Godfrey essentially took him in and saved him from this orphanage. And so because of the promise Godfrey saw in him, Landry became a Templar at the age of 11 which is very, very, very rare.

One of the Templar rules is that you must become a Templar of your own volition because it’s such a monastic lifestyle where you do things like eat your food out of the same bowl as another man. There’s no vanity, there’s no possessions. It’s completely monastic. And so it’s very rare for a young boy to join the Templars like Landry did.

So, Godfrey becomes Landry’s father and as the season goes on, in episode one there is a truth revealed to Landry about Godfrey that he didn’t know. And Landry, like a classic hero that we all know, as the protagonist, he hunts and searches for the truth at all costs. He is like a boar who gets physically beaten, emotionally beaten and he just gets back up by himself and charges towards the truth.

Godfrey is pivotal in that circle of truth that Landry is striving towards and it isn’t a very easy journey for Landry to go on throughout the first season. But, it’s a very satisfying journey for the viewers. Every time the scripts would come in there would be a new revelation and it would be a new shock and a new turn and it was very cool to read and really fun to play. I hope that the audience enjoys it as much as we enjoyed making it.”

Is any particular theme or aspect to Knightfall you think will really resonate with the viewers?

Tom Cullen: “Yes, sure. I think what I’m very proud of in the show is that you can kind of look at the show objectively from the outside having not seen it and say, ‘Oh, this is about guys swinging swords and that’s what the show is about,’ but the show is so much more than that. The show is about politics. We have a lot of stuff that takes place in the French Court at the time, dissecting and breaking down the politics and the machinations of political interplay, which I just love that kind of stuff.

It has a fantastic central spine through the show; an amazing love story which I’m surprised at how strong and moving that story was as we were filming it. It kind of grew into this thing that we had no idea it would become. The show talks about revenge and betrayal, brotherhood, loyalty, faith, humanity and mortality. I think that it raises really big questions about who we are whilst at the same time being really kind of fun and entertaining. So, that takes you on a really wild journey.

And, so I truly believe the show has something for everybody. I think that it is by no means a gendered show. I think that women would love it as much as men will love it and that is something I’m really proud of, too. It has fantastic, strong female characters. They are actually probably stronger than all of the male characters and they’re just as complex and rich as the male counterparts, and it’s very moving. I’ve watched the last episode three or four times now and I’ve shed many tears every single time. It’s a great rollercoaster.”

What do you like about the medieval time period?

Tom Cullen: “I’ve always been obsessed with the Medieval time period because I think it’s a time that we can look back on and learn from. And, actually, 800 years isn’t that long ago and that this is the time really when the world that we live in today was created and formulated. We’re still feeling the repercussions of the actions and choices the people made in the medieval period today.

It’s also a period that is grimy and dirty and dangerous. The line between life and death is so thin, it’s really interesting to learn about. And I think that’s a fantastic place to make a drama in. It’s a very rich world since life and death was so next to each other, and it’s world rich in terms of human wants and needs. Nowadays our lives are reasonably comfortable for certain people, especially in America. We typically don’t have that kind of life and death threat every single day where we are going to drop down with scurvy or have to go into battle.

So, our choices aren’t as drastic. But if you have a lifespan of 35 years, every choice you make is loaded. And so I think that the world of the Medieval period is one of very high octane and people making life and death choices every single move. And that, for me, is an exhilarating period of time to make a drama in.”

How do the scenes in Knightfall resonate in your own life? How do you draw on your own life to play the part of Landry?

Tom Cullen: “That’s such a good question. On the paper, it isn’t necessarily very easy to draw on myself, and I think that I like to work as an actor from the places of truth instead of drawing on myself as an empathetic being. Well, I’ve had some experiences personally that I put it into Landry but not many. I worked in an empathetic way, anyway where I try and put myself into the character’s body and some kind of lose myself as much as possible. And so my thoughts and my character’s thoughts were somewhat separate as opposed to my own.

I don’t really like to draw on my own experiences. I feel that’s confusing and muddied and I don’t think it’s very healthy. So, it wouldn’t have been very healthy for me to continue working in that way and it’s not why I’m an actor. But the themes that were very resonant with me in the show, that resonated with me as a reader and as a viewer and as an actor, are ones of brotherhood and loyalty, love and lust, and denying one’s own happiness, complexity in relationships with a father and feelings of abandonment. All of that stuff really resonated with me.”

Do you believe that because Landry became a Templar at such a young age that’s why he was able to rebel against that part of his vow and enter into a romantic relationship?

Tom Cullen: “I think that when we first meet Landry at the top of episode 1 he is 20, and he is brash and young. He is a maverick, incredibly cocky, and is kind of emboldened by the fact that he has God on his side and he thinks that he’s invincible, which I think a lot of 20 year-olds think, regardless of whether they have God on their side or not. I know I certainly felt like that.

But what we see at the top of episode one is his entire life flipped upside down when they lose Acre, the last Templar stronghold in the Holy Land and they lose the Holy Grail. And so we flash forward 15 years and when you’ve been brought up as a as a warrior, and that’s all you know, everything you know, it’s a tough reality to deal with. He’s like a caged animal, unable to fulfill what he thinks is his only purpose and duty which is to fight.

And so when we meet him, he is this very, very complex, pulled apart guy in episode one. He is battling with his humanity and he is secular yet he is also still mentally devout. He is very loyal to his brothers, his family, yet he is lying to them. He is having an affair with a woman yet he is a monk. He is the bravest, most fearless warrior, yet he’s starting to feel a sense of his own mortality. I think that’s why he kind of falls in love with this woman. It’s not that he’s doubting God or that he’s doubting the Templars or religion, but that he’s doubting himself. He is in a conflict, in a battle with himself, which are the stories that I love to watch where your hero is so full of contradiction and battle and personal complications. And throughout the first season, we see him work through that and battle through that and try and find out who he really is. It’s an awesome journey for me to play and to take viewers on.”

Did you discuss what would happen moving forward with the series, where it might go in seasons two, three or four? Were you given an idea of Landry’s entire arc beyond the first season? And if so, to what degree does that influence your approach to the character? How much are you able to build into the character as the series goes on?

Tom Cullen: “We love the show and we really hope that we can continue making it for as long as possible because we’re a real family and we’re very, very proud of it and we love making it. There’s also still a lot of the Templar history that has yet to be told. We have an idea of where the show will go and where it will take us. But what actually happens is that while you’re making a show, it becomes this dialogue that happens between the writers, the actors, directors, the costume designers, the art director, the production designer, makeup artists, etc. where you’re constantly kind of feeding into this pot which is the show. It evolves and changes and moves in ways that you would never expect it to.

It’s like a living organism but that surprises you. And so though we have an idea of where this is going, actually the truth is that we don’t in many respects. We have the structure of history and what actually happened which we have to stay with but in terms of the characters, and their fuels and wants and needs and how they navigate their way through that history is something that we’re constantly being surprised by with the characters. And that’s a really exciting place to work with.

And especially as an actor, I don’t want to know where the character is going because in life I have no idea what I’m doing tomorrow or how it’s going to pan out. I can only be in the present and I can only make choices in the present, and so that’s what you want your characters to do. And so the writers actually withheld scripts from us and didn’t tell us what was happening later in this first season so that we could be surprised in the moments whilst we were making the episode, which is a really fantastic and authentic way to work. And then once we get the script, we kind of talk about them and collaborate on them.

Dominic Minghella is an incredible showrunner. He is a force of nature and an amazing man and a brilliant writer, and he really values the actors’ input. He is always very good at fielding ideas and whether he takes them or not is up to him, but it feels like a very collaborative process where everybody is feeding into it and we all have ownership over the show and that’s really exciting.”

in showbizjunkies.com by REBECCA MURRAY

KNIGHTFALL: “YOU’D KNOW WHAT TO DO” REVIEW

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History’s Knightfall delivers a fascinating story centered around the Knights Templar and their quest to find the Holy Grail in the early 14th century. Like the network’s flagship series Vikings, Knightfall proves why History needs to develop more original dramas.

Knightfall goes big and bold right from the beginning with a large-scale battle set in the city of Acre. For a TV budget, the assault on the stronghold looks great, but it’s the use of intricately placed cameras that make the sequence shine.

Typically, an actor that wears a helmet, like Thor, finds a reason to take it off, in order to better show the actor’s face. Studios don’t want to pay someone millions of dollars to hide beneath a helmet. Instead of taking the helmets off, Knightfall puts the cameras inside the helmets. It’s a brilliant choice because it creates a feeling of claustrophobia that adds to the intensity of the fights.

The combat is well choreographed and believable. It’s not as flashy as Vikings, but with warriors wearing armor that heavy, it must be difficult to move. The only complaint is the ineffective use of slow motion throughout the episode. It doesn’t ruin any of the skirmishes, but it is distracting. It feels like the show is trying to be overly stylized when it doesn’t need to be.

The characters that inhabit the story are remarkably realized. Landry (Tom Cullen) is one of the lead knights in the order. Cullen (Downton Abbey) brings all the good looks, charm, and toughness needed to carry a historical epic like Knightfall. Early on, Landry’s close relationship with the King is revealed to be a sore spot between Landry and the rest of his brothers. This conflict should make for a compelling story down the road — especially if you know a little bit of the history concerning the Templar order.

Knightfall takes place around the time of the Templars’ downfall, which according to some historical accounts, has to do with the troubled financial relationship between King Philip IV of France and the Templars. This version of the King, skillfully portrayed by Ed Stoppard (The Crown), doesn’t seem like the type of guy who would betray his friends. These are merely first-impressions, but I’m excited to see how it all plays out. History is a network that’s not afraid to toy with expectations, even in a historical setting (e.g. Vikings). Remember, this is a television show after all.

Some of the supporting characters based on their names alone add to the mystery surrounding the Grail legend. Parsifal (Bobby Schofield) is one such character. Schofield (Black Sea) effectively plays the wide-eyed farm boy who’s in over his head. What’s fascinating here is the historical significance of his name. In the legends about King Arthur, Parsifal (Percival) is one of Arthur’s most trusted knights and he’s also part of the Grail legend. It looks like the writers are using various legends and historical accounts to shape their story. This mixture of fantasy and history makes Knightfall all the more delightful.

It’s nice to have a series that gives the Templar’s a story from their point of view. Properties like Assassin’s Creed haven’t painted them in a good light and while there are reasons for that — having a different perspective on the ancient order is enjoyable to watch. Landry and his brothers are seen as protectors of the people, as opposed to cold-blooded killers.

THE VERDICT

Knightfall creates an engaging story centered around the Knights Templar and their search for the Holy Grail. With gorgeous costumes and wonderfully designed sets, Knightfall does a great job of bringing 14th century Paris to life. Backed by a strong performance from Tom Cullen, Knightfall should have enough staying power to see it through until the finale.

in ign.com by DAVID GRIFFIN


Note: This review is reprint from IGN. The OSMTHU has no official review of Knightfall. However, we should point out that Knightfall is a ficcional series with the Templars as a background. It’s not History. You should enjoy it as you enjoy any other great fictional story.