Customer Reviews

Knightriders

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3 star:		(1)
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1 star:		(2)

 

 

I discovered this film during the early days of HBO, when the mix was blockbusters and movies the networks did not want. George A. Romero's 1981 film "Knightriders" falls into the latter category. This is about a group of free spirits who combine a Renaissance Faire with knights in armor jousting on motorcycles between the good knights and the bad knights. It quickly becomes apparent that the personas of the main characters follow those of the legend of Camelot: the King (Ed Harris), Lancelot (Gary Lahti), Merlin (Brother Blue), and Mordred (Tom Savini), along with a Genevieve, Galahad and even a Friar Tuck thrown in for good measure. After all, this is a symbolic retelling of the tale and if you want to take it literally you are going to be left behind in the dust.

At the beginning there is a good-natured rivalry between the "good" knights and the "bad" knights. The rules of the kingdom say if Mordred and his black clad gang defeat the King or his champion, there will be a new king. However, there are cracks beginning to show in this idealized world. Crooked sheriffs want a cut of the take, the jousts are starting to get out of hand, crowds are becoming unruly, and then a group of promoters come in and want to take over the group. This exploitational commercialism breaks the group apart until they all see the error of their ways. The game has to be played out by the rules, no matter what the outcome.

The heart and soul of this film is Ed Harris as Billy, who takes the fable too seriously. Ultimately this curses his character as much as it ennobles him. Billy's "defeat" is proof of his final victory, that the code he believes in is valid and the world he has created will work, even without him. Unfortunately, Billy can not survive for long in the real world, for he really does see himself as a knight on a white charger and reality does not look kindly on such flights of fancy. The final scene of the film, a series of shots of the characters in the rain, is quite moving.

Everybody pretty much agrees the film runs long, which makes it something of a hard sell to newcomers, and if you do not find living out a medieval life while jousting on motorcycles for paying customers particularly romantic then you should probably pass on "Knightriders." Certainly it is a different type of film from the guy who brought you "Night of the Living Dead," but you have to admit both films deal with how people deal with a reality that do not like being forced upon them.

"Knightriders" is a solid B-Movie, with more heart and soul than you usually find in such things. Even though this is one of his earliest films, Ed Harris provides the dignity that allows the story to be constructed on his character. Not many actors could have pulled this off. The action sequences are pretty creative given the situation, especially is you like choppers. The romantic elements are mere subplots, more echoes of Camelot than anything else. I have a fondness for this film. It is not great, but it is enjoyable and the point it makes is rather worthwhile. How many films today can you say that about?

Occasionally, I discover a B movie that is so off the wall, so cleverly quirky, and so perfectly original that it earns a place in my imagination and in the ranks of my favorite films. `Knightriders' is such a film. After the briefest of runs on the drive-in theater circuit, it moved directly to late night airings on Cinimax in the early `80s, and there earned a small cult following. Now, with this fine DVD presentation, this odd B movie masterpiece should continue to garner new fans.
`Knightriders' tells the tale of a troupe of odd ball outsiders and their low budget traveling Renaissance fair. The main event in this fair is a genuine jousting tournament between armor clad knights mounted on motorcycles. The troupe is composed of a mismatch of hippie types who dig the romance of the medieval mythos, and adrenalin junkies who are only in it for the bikes and the action. The figure who holds them all together is King Billy (Ed Harris), the group's founder and star, who is driven by an obsessive, nearly messianic vision of the importance of their endeavor. The group's idyllic existence starts to fall apart as financial difficulties and trouble with red neck police play havoc with their ability to continue, and they start to split between those who are committed to the purity of King Billy's vision, and those who want to pursue a more practical and commercial direction for their show. A final showdown between those knights loyal to King Billy and the rogues led by Morgan the Black Knight (Tom Savini) who want to go commercial with their act, is decided by a winner take all grand martial competition between the cycle mounted knights.
Ed Harris plays King Billy convincingly as a driven dreamer swiftly descending into obsession approaching the edge of madness in his desire to preserve his vision. Tom Savini takes a turn in front of the camera and proves that he is not only a master of FX gore, but a pretty fair actor as well in his role as Morgan, leader of the rogue knights. Brother Blue plays Merlin as a jive/blues medicine man dispensing wisdom and first aid. Fans of director George Romero, who are familiar with his Living Dead franchise will recognize many of the players here as well who have had roles in numerous Romero zombie flicks.
The cinematography in `Knightriders' is surprisingly well done, as B movies are not usually known for their great camera work. It is filmed beautifully, taking full advantage of the scenic landscapes of Western Pennsylvania, where director Romero does most of his work.
The commentary track that comes with this DVD is great fun as well. Director Romero, Tom Savini, and others simply chat over the film, having a good time as they informally tell stories and remember the fun they had as they were making it. Listening to them, you get the feeling that you are sitting in a den sharing their beer as they laugh over old times.
`Knightriders' runs a tad long, but that is the only gripe I have with it, and not enough to dock it a star. It belongs in the B movie hall of fame and in your collection as well.

Theo Logos

Back in the 1970's, George A. Romero went to an event of the Society for Creative Anachronism This is a group of folks who study and recreate the middle ages, including the art of combat. At this particular event, something happened that caused a large faction to split off and form Medieval Studies and Restoration, a splinter group. According to legend, Romero said to himself "I gotta make a movie about this!" He went to the sudio heads, but they did not think such a film would have commercial viability. Then in a fit of pique he said "allright, supposing we have them joust on motorcycles?" and that's how the movie got made.

The story of this movie is about a travelling renaissance faire that jousts on motorcuycles. There are two factions, one that is doing it for the Arthurian dream of honor and chivalry, and one that is doing it for the action and the money. The group fractures, but the splinter group winds up realizing that they were missing something, and there is a reconcilliation at the end. People who know the real people from the SCA and MSR and the original events can see similarities in some of the characters and situations on screen to the real people and events.

I had known this movie from this perspective for years. Reading the other reviews here, its good to know it can be taken on more levels, even if you don't know the original story. I find that it can be enjoyed both by people who take it seriously and for camp appeal. There are several story elements that were typical for '70's road movies, such as the troubles with the law, the local girl who joins the group to escape her family, and so forth. The action is not the greatest of all swordfighting movies, but is passable. For flat-out motorcycle/automobile thrills, nothing beats "The Road Warrior" but the stunts here are at least well done and convincing. The meaning and spirit behind this film elevate it above an ordinary action film.

This is a fantastic film! Where "Dawn of the Dead" was about consumerism, "Knightriders" is about greed.

George Romero shines with an original saga of a Camelot-esque traveling motorcycle troupe. They're simple, honest folk led by a just king...but villainous treachery (greed) nearly pulls the group apart. Ed Harris, in one of his earliest leading roles, is nearly consumed by self-doubt in his quest to slay the dragon and keep the group from compromising its values. But hey, this is an epic story and of course all turns out well, albeit bittersweet...

Technical characteristics are impressive given the low budget. You'd never think that Tom Savini can act, but act he does as a male "Morgana LeFay"-type character. What a "rennaissance" man (ducking)! Donald Rubenstein's original score is excellent; it's too bad that is not available. (The only drawback is that the theme won't leave your head for days, and is a little overused).

Finally, George and Chris Romero, Tom Savini, and Chris "The Greek" Stavrakis (brother of Taso) share lots of interesting background info on the commentary track. You'll even find out what happened to Billy and Linet's thrones...

This is how a Romero film should be released! Waiting anxiously for a proper "Dawn of the Dead" and "Day of the Dead" collector's edition.

A film that incorporates Arthurian legend within a modern day Renaissance Faire that has knights doing battle on motorcycles? Directed by famed horror director George A. Romero? It may seem like a silly concept, but you know what? It worked, for this viewer, at least.

Knightriders (1981) stars Ed Harris, Gary Lahti, Tom Savini, and Amy Ingersoll. Harris is Billy, the king and inspiration behind the Faire, believing and living the noble ideals of a time long since past. Problem is, these ideals often conflict with the present, and especially when it comes to paying the bills. This epic tale (it runs almost 2 ½ hours) details the relationships within this seemingly tight knit group, the conflicts that develop as commercialism tries to creep in by means of a sleazy promoter wanting to take the 'act', as he calls it, to bigger, more theatrical venues, which threatens to spoil the noble ideals Harris tries to put forth and live on a daily basis. Things start to fall apart as the conflict between the members grows worse, and outside pressures force decisions to be made.

In a really gutsy move that I don't think paid off in terms of financial success at the time of the films' release, Romero breaks out of his the genre he's become known and respected for, delivering a lavish tale, one that I found interesting, although a tad drawn out, at times. The character Harris plays seems like a kook, but you may begin to understand his beliefs, what he's trying to put forth, creating a community of not just entertainers, but a family of different peoples who believe in themselves and what they do. The action is quite thrilling as the knights ride around on motorcycles instead of horses, doing battle using jousting poles, broadswords, battle-axes, and maces. There is plenty of action, and the stunt work is quite excellent, adding a realistic flavor throughout. Some of the drawn out plot threads seemed a bit odd to me, like the one involving a rather minor male character and questions that arose with regards to his sexual preferences. I didn't have a problem with the material, but just how the subject came out of nowhere and continued to linger on for quite awhile. It just seemed too much attention was focused on this minor plot point, and thereby causes it to stick out against the rest of the film. I think this tact was followed in a move to try an develop at least a passing interest in as many of the characters as possible, allowing for the viewer to take a real interest within the group, and thus feel the difficulties as the characters did at the fragmenting of the group, but it was just taken a bit too far at a couple of points, in my opinion. Harris is great as the ideal driven leader, fighting a seemingly losing battle of trying to hold the group together and keep the spirit alive. Tom Savini is also wonderful. Usually known more for his work on special effects, he shows he can really act playing the character of Morgan, the Black Knight, whose main reason for participating is for the thrills and excitement. Appearing as only a two dimensional character in the beginning, Savini really infuses much into Morgan throughout the film, providing a great deal of depth.

Presented here is a really good looking wide screen print and special features include a commentary track by director Romero, stars Tom Savini, John Amplas, Christine Romero, and film historian Chris Stavrakis. Also included are behind he scenes home movies, a theatrical trailer, and television spots. Some notable appearances to look for are Stephen King and his wife Tabitha as spectators (actually, they're credited as Hoagie Man and Hoagie Man's Wife as King is seen chowing down while spouting off how fake the fighting is), and a young Patricia Tallman as Julie, a love interest to Gary Lahti's character. While not a starring role here, she later did star in Romero's 1990 remake of his classic Night of the Living Dead, as Barbara. Knightriders is a fun, drawn out tale with lots of action and a lot of heart. The ending seemed a bit hokey, but really, looking back on it, I wouldn't have expected different. Fate and destiny, at least in the movie world, just cannot be denied.

Cookieman108

Thinking back on KnightRiders after not having watched it for a few years is rather like trying to recall a particularly vivid, epic dream. This picture is certainly not to everyone's taste, but it is an original, heartfelt story.

I won't re-hash the entire plot, but these are some highlights:

Ed Harris' acting - bravo!

Brother Blue's take on Merlin as a scat-talking medicine man, especially his mesmerising beat rendition of one of the Arthurian myths

An amazingly moving, wordless scene late in the picture, between King Billy and Morgan - I won't give away the details but it's one of the purest "moments" I've ever seen on film

The thrilling bike combat stunts, almost equalling those of the Road Warrior

The sad and beautiful funeral scene

The soundtrack, which has apparently just been released for the first time by an indie label.

After huge success with "Dawn of the Dead," independent filmmaker George A. Romero signed a 3-picture deal with United Film Distribtuion Company, the studio that put "Dawn" in theatres. Instead of playing safe with another horror film, Romero jumped genres to the adventure/drama "Knightriders" concerning a traveling fair that live by the code of King Arthur, Camelot and the Knights of the Round Table. Basically think "Easy Rider" meets "Excalibur."

Life is great for this large family until the outside world steps in with promises of fame and fortune. King Billy (a fantastic Ed Harris!) wants to live a simple life free from money and greed. However, others led by the black knight Morgan (special effects artist Tom Savini in an equally good performance) simply want to survive. Soon, this family unit splits in half with those devoted to Billy and others to Morgan.

Writer/director Romero has said in the past that "Knightriders" is his favorite of his films. It shows when watching the film. This is Romero's epic filled with great scenery, scope and performances. The film's premise is a bit odd, but it's best strength is it's ability to come off as believeable. Also worth noting are the well-filmed scenes involving the knights jousting.

However, one can't help but complain towards the film's length. At 145 minutes, it's just too long. Sure it's an epic, but you can only have so much in one film. A good 20-25 minutes could have been dropped and would have made "Knightriders" a better film. Despite the argument for the length (and a few too many B-plots), "Knightriders" remains one of Romero's best films.

The DVD is a nice presentation with an anamorphic widescreen transfer showcasing the lush cinematography of D.P. Michael Gornick. It's hard to believe a film mostly seen on home-video and over 20 years old(!) looks this good. On the bonus matertials section, there's a great commentary track featuring writer/director Romero, actors Savini, Christine Romero (Romero's wife), John Amplas (of Romero's vampire film "Martin") and film historian Chris Stavrakis. Add 15 minutes of silent "home-movies," (minus any commentary track sadly), the theatrical trailer and two tv spots and you have a nice package for an under-appreciated film.

This, quite possibly, may be my favorite of Romero's films. I adore Night of the Living Dead and Dawn of the Dead, but this one is quite special and is a complete surprise, even to Romero's hardcore fans. I remember renting it a while back because it was by Romero (and it is pretty long, 145 minutes, and I love long films). Many reviews simply stated that it was "a change of pace" for Romero, and yes, this is true, but they missed the depth and substance that this film has. It is Romero's most moving film, completely heartfelt and sincere, one that, should I say this, stirs the soul. Romero elicits incredibly naturalistic performances from his cast. It's made up of Romero regulars, including Ken Foree from Dawn of the Dead, and Tom Savini, makeup artist extraordinare and a surprisingly good actor here. It also stars a then unknown Ed Harris, who Romero discovered. Ed shows his intensity and power early on. You really feel like you're watching real people and their travelling show. Nothing feels phony, smug, or "ironic" here. The final 20 minutes is the most stirring thing that Romero has ever done (with the best scene in a school where Ed Harris gives his sword and helmet to a young school boy he met earlier in the film. The kid's performance is wonderful in a film filled with them). So, this film is much more than just a change of pace for George A. Romero. It's a deeply moving, sad film, one that should be appreciated not only for its change of pace (which Romero succeeds wildly), but for its deep, humanistic message. A wonderful piece of filmmaking....

"Knightriders" is the best attempt by any filmmaker to get the spirit and flavor of Arthurian chivalry on the screen! I have been reading books on Arthur and Celtic mythology for well over twenty years. It seems impossible for me to get enough. I will read it or watch it - whether it is history, criticism or fiction. In that time there have been more than a few disappointments and out-right stinkers. But Romero gets it right!

I began watching the film with strong misgivings. Knights on motorbikes??? Hippies in period costume in the '80's? PUHLEASE! I did not have a good feeling about it. But the story and the actors drew me in! I could not immediately draw the parallels to any of the story cycles, but the spirit was there! Was it ever! As the story progressed I knew where it had to go. But it was not boringly predictable. Everything was just RIGHT. I was so engrossed by the end that Billy's final scene sent me leaping from my chair and shouting at the top of my voice! How many movies have done that to you?

I have the VHS and now the DVD. I am unashamed to tell you that I have had the latter a week and have watched it twice!

Buy it NOW forsooth! Thou wilt never regret it.

I like stories of knights who fight for justice and principles. This is a story about such deeds in a very low-rent film about traveling carnival workers. The King, Ed Harris in an early lead role, is wholly in his element and intent on ruling through grace and valor. His perception is summed up early on when he tells his girlfriend that he is "not a hero, I'm fighting the dragon!". Slowly reality is taking it's grip on the band as they fight to scrape by. The Dark Knight, played exsquisitely by Tom Savini, opposes the King, and thinks they should sign with a national entertainment executive. Ed Harris beleives this would destroy the very essence of the "Kingdom" he has built. Savini is so electric here that I want to see more of him in films. He is seen also in From Dusk Till Dawn and Dawn of the Dead (lot's of "Dawn" movies). Although low on production values, with very chincey almost cardboard-looking armor, this films heart is in the right place and it tells a compelling story about faith versus self-promotion. Think medeival Bronco Billy and you'll have a pretty clear idea of the pulse of this film.