Is ‘William Tell’ the Historical Epic We Deserve or Just Another Missed Opportunity?

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The legendary Swiss figure, William Tell, receives a lavish, action-filled stage adaptation, inspired by the timeless 1804 play penned by German author Friedrich Schiller. Director Nick Hamm masterfully captures the grand landscapes, brutal conflicts, and historically authentic set designs, yet grapples with character depth and narrative cohesion in a script that seems somewhat fragmented. An impressive troupe of seasoned European actors deliver solid performances with their Shakespearean dialogue. They embody their characters well, though these roles lack the complexity they deserved. The overall experience is uneven, offering more positives than negatives. Despite its imperfections, one can still admire the film’s cinematic grandeur.

1307, in peaceful Altdorf, Switzerland, the stern Viceroy Bressler (Connor Swindells) observes as William Tell (Claes Bang) aims a crossbow at an apple precariously perched on his son Walter’s (Tobias Jowett) head. The narrative unfolds, with William’s voice-over expressing his resignation to once more be entangled in conflict. This iconic moment is preceded by a title card detailing Austria’s ruthless domination of its tranquil and picturesque Swiss counterparts.

A Complicated Historical Plot

3 days ago, Sam Keeley (as Baumgarten), a Swiss farmer, rushed home after hearing his wife’s dreadful screams at the hands of Billy Postlethwaite (Wolfshot), a tax collector serving King Albert (Ben Kingsley) of Austria. Seeking revenge, Baumgarten confronted Wolfshot and then fled towards a nearby village. Moved by pity for the injured man, William braved a stormy sea in a boat to rescue him. As William looked back, he saw Gessler’s soldiers arrive and brutally massacre the peaceful villagers.

In Austria, Albert the One-Eyed becomes aware of Wolfshot’s transgressions and consequences, yet he insists on the Swiss being held accountable for slaying one of his soldiers. Moreover, he summons Gessler, causing distress to his half-Swiss niece Bertha (played by Ellie Bamber), who Albert has pledged to marry. It is revealed that Albert knows about Bertha’s clandestine relationship with Rudenz (Jonah Hauer-King), the nephew of the ailing Swiss nobleman, Attinghausen (portrayed by Jonathan Pryce). Albert intends to manipulate his niece for control over Rudenz while also empowering Gessler. Meanwhile, in Switzerland, Suna (Golshifteh Farahani), William’s cherished spouse, comes with horses to facilitate their escape. She forewarns that William’s act of compassion has sparked a whirlwind of revenge.

A Rousing Banger at the Beginning

The story of William Tell embodies all the thrilling aspects of an epic tale. In its intense opening, we see the high stakes as Austria seeks to dominate Switzerland through brutal measures, stirring up rebellion among its people. William, a seasoned warrior who yearns for peace, is our protagonist – a man who has witnessed too much violence and wishes nothing more than tranquility for his family. The film occasionally takes us back to when William fought during the crusades, making clear his desire to never wield his crossbow again. However, the oppression of Albert and the villainy of Gessler shatter this dream. Playing the reluctant hero with conviction is Bang, a talented Danish actor recognized for his roles in “The Square” and “The Northman”.

In the films “The Hole”, “Godsend”, and “Driven”, Hamm excels in breathtaking cinematography and raw realism, effectively portraying Switzerland’s rugged landscapes and grandeur. The filmmakers skillfully illustrate why invading such challenging terrain would be detrimental to any army, as the Austrians discovered. The character Albert’s decision to use Altford as a strategic base for confrontation is logical. Hamm masterfully depicts scenes of brutality, such as soldiers committing atrocities like rape, looting, and killing, with a chilling precision. While he doesn’t shy away from graphic content, he wisely avoids excessive gore, nudity, and violence, offering a glimpse into the horrors without resorting to the extreme levels of brutality seen in films like “Braveheart”.

Almost a Blockbuster

As a cinema enthusiast, I found myself confronting a notable hurdle in the second act of “William Tell” when it came to Hamm’s portrayal of palace intrigue. The clandestine affair between Bertha and Rudenz, a captivating subplot, manages to entangle both nations’ noble families, but their interactions with Gessler often feel more like the dramatic twists in a daytime soap opera rather than a historical epic.

Moreover, I had difficulty accepting Bertha’s character development in the third act, an essential component for the climax. The lead-up to the pivotal turning point is somewhat underwhelming and highlights one of the film’s significant flaws.

In William Tell’s story, characters seem to miraculously appear whenever they are required, regardless of time or distance. For instance, when William and Bertha find themselves in a difficult predicament, they serendipitously meet fellow Swiss citizens who can assist them. This pattern repeats frequently throughout the movie. One may wonder why Hamm didn’t opt for a three-hour epic to allow each scene to fully develop its rising exposition. However, it is important to note that Hamm isn’t a careless filmmaker, so his decision to rely on coincidence and minimize travel is quite puzzling.

In this film, the renowned actors Kingsley and Pryce are sadly underutilized. Their screen presence carries far more weight than yet another fight scene, and the budget would have been better spent expanding their roles. Instead of embodying William Tell’s strengths, their characters were confined to portray his shortcomings. The movie is enjoyable in parts, but it could have rivaled the best films in its genre with a little more development. However, the last scene hints at a possible continuation, giving Hamm another opportunity to shine. This production of “William Tell” comes from Free Turn Films, Tempo Productions, and Beta Cinema, and will be distributed theatrically by Samuel Goldwyn Films on April 4th.

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2025-04-05 01:03