at the crippled round table


Here it is, here it is, firmly awaited by some fans if we are to believe the figures of the series of four hundred and fifty-eight episodes which inspires this film: broadcast on M6 from 2005 to 2009, Kaamelott, a parody of the Arthurian legend, produced and performed by Alexandre Astier, attracted an average of three and a half million viewers per episode. Its cinematographic version, announced in 2009, however encountered multiple insults, from the legal conflict over its rights to the Covid-19 pandemic.

This is to say if this first part of what is already presented as a future trilogy arouses the impatience of the faithful. And undoubtedly also the circumspection of the cinephiles so far there is, in terms of writing, breath and dramaturgy, between the universe of a series in the reduced unitary format and a work of cinema.

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Alexandre Astier, for his part, superbly ignores or skilfully minimizes – depending on the point of view – this hiatus by making his film the continuation of the series where it left off, the ten years of gap that have elapsed in the reality in between being transposed into fiction.

We therefore remember, or not, that King Arthur, deeply depressed, not to say suicidal, entrusted the reins of the kingdom of Logres ten years ago to Lancelot who, notably under the pernicious influence of the sardonic Méléagant, turned illico to the despot. mad, now chasing Arthur and his knights, wanting to make a clean sweep of the Round Table in a word. Kaamelott first part thus stages the great return of Arthur, uprooted from an island retreat, and helped by the clandestine resistance of the “semi-crispy” which had been organized in his absence.

Double dimension

This story of reconquest therefore oscillates between two poles, also subject to mockery. On the one hand, that which points to the persevering softness of Arthur (Alexandre Astier himself), the quarrelsome modesty of the resistance, and the general blundering tendency of the movement; on the other hand the one who makes his honey on the darkly stringy side of the court of Lancelot, a character to whom Thomas Cousseau, encased in a collar which climbs up to his eyes, confers a semi-cadaverous rigidity, well surrounded by a Sting camping at the little hair the Machiavellian Saxon and a bunch of twisted cowards among which stand out Christian Clavier and François Rollin.

Among the notable influences of the film,
the comedy “Monty Python sacred Grail” and
the “Game of Thrones” series

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