A lot of swordfighting in medieval-period movies is even less appropriate if you know what the affordances of period weapons were. The classic Errol Flynn vs. Basil Rathbone duel scene from the 1938 Adventures of Robin Hood, for example. They’re using light versions of medieval swords that are reasonably period for the late 1100s, but the footwork and stances and tempo are all French high line, albeit disguised with a bunch of stagey slashing moves. And Rathbone gets finished off with an epée (smallsword) thrust executed in perfect form.
It was perfect form because back in those days acting schools taught their students how to fence. It was considered good for strength, grace, and deportment; besides, one might need it for the odd Shakespeare production. French high-line because in the U.S. and Europe that was what there were instructors for; today’s Western sword revival was still most of a century in the future.
This scene exemplifies why I find the ubiquitousness of French high-line so annoying. It’s because that form, adapted for light thrusting weapons, produces a movement language that doesn’t fit heavier weapons designed to slash and chop as well as thrust. If you’re looking with a swordsman’s eye you can see this in that Robin Hood fight. Yes, the choreographer can paste in big sweeping cuts, and they did, but they look too much like exactly what they are – theatrical flourishes disconnected from the part that is actually fighting technique. When Flynn finishes with his genuine fencer’s lunge (not a period move) he looks both competent and relieved, as though he’s glad to be done with the flummery that preceded it.
At least Flynn and Rathbone had some idea what they were doing. After their time teaching actors to fence went out of fashion and the quality of cinematic sword choreography nosedived. The fights during the brief vogue for sword-and-sandal movies, 1958 to 1965 or so, were particularly awful. Not quite as bad, but all too representative, was the 1973 Three Musketeers: The Queen’s Diamonds, a gigantic snoozefest populated with slapdash, perfunctory swordfights that were on the whole so devoid of interest and authenticity that even liberal display of Raquel Welch’s figure could not salvage the mess. When matters began to improve again in the 1980s the impetus came from Asian martial-arts movies.
Eric S. Raymond, “A martial artist looks at swordfighting in the movies”, Armed and Dangerous, 2019-01-13.
August 4, 2022
QotD: Errol Flynn versus Basil Rathbone in the 1938 Adventures of Robin Hood
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