Discover Why George Romero’s ‘Knightriders’ Stands Out in His Filmography!

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#2 in my ranking of George A. Romero’s filmography.

Discovering an artist’s true intentions becomes intriguing after a significant triumph, especially when they choose their next project. Following his financial freedom with “Dawn of the Dead,” George Romero, instead of sticking to horror, opted for a humorous reinterpretation of the Arthurian tale featuring motorcycle-riding knights – a film that remained sincere in its portrayal of characters. Even before this, films like “Season of the Witch” and “Martin” hinted at Romero’s preference for exploring beyond horror. With “Knightriders,” Romero decisively stepped away from the horror genre, demonstrating his potential to transcend the ‘zombie guy’ label. To be honest, I was captivated by this film.

In a peculiar twist to traditional renaissance fairs, King Billy (Ed Harris) leads an unconventional society that travels across Pennsylvania’s countryside. The unique aspect? Instead of horses, jousting is done on motorcycles! Some find it amusing or absurd, but I quickly looked past the spectacle. What captured my attention was the exceptional quality of the written and acted characters.

At the heart of everything lies Billy, a man with a dream rooted in an era long gone. Surrounding him are his Guinevere (Amy Ingersoll), his Merlin (Brother Blue), his Morgan le Fay (Tom Savini), Sir Morgan, and his Lancelot, Sir Alan (Gary Lahti), among others. What’s intriguing is that the reasons why they choose to live under Billy’s leadership, following him from one small town to another with minimal pay and few other rewards, are never explicitly stated. This mystery is resolved by the sense of camaraderie that Romero skillfully portrays through these characters. There are disagreements and conflicts, but despite this, there’s a strong bond among them. For example, the main storyline revolves around Morgan trying to overthrow Billy in a contest for leadership (the rules of their society are clearly defined), resulting in intense and bloody confrontations. Yet, when it ends, Billy emerges victorious due to the support of his knights, and they continue to smile at each other sincerely. This community transcends any differences in vision.

The film lacks a single, dominant storyline, instead presenting a collection of interconnected subplots that revolve around the theme of a community seeking purpose beyond contemporary life. This narrative style recalls Clint Eastwood’s “Bronco Billy.” Among these subplots, a small-town deputy sheriff exerts his authority, while Alan pursues a romantic interest in Julie (Patricia Tallman). Linet watches Alan from a distance with admiration. They cross paths with a promoter, Bontempi (Martin Ferrero), who aims to boost their reputation and secure them better opportunities. This ambition eventually leads to the central conflict between Billy and Morgan, as it unfolds throughout the film. At one point, Alan takes a short break from the storyline.

In my perspective, what bothers me most about the movie is that it seems significantly abridged. Given its running time of two and a half hours, this observation may appear strange (many viewers find it too lengthy rather than too brief), but it’s said that Romero’s original cut spanned an impressive seventeen hours. Although I can picture a significant portion of that time being dedicated to motorcycle jousting scenes, it’s clear that he was delving into the lives of all his characters. He had to make substantial cuts to bring it down to a more manageable length. The most notable reduction seems to be the character of The Indian (Albert Amerson), who enters the film halfway through and becomes a silent devotee of Billy. I strongly feel there could have been more background given for him, maybe tying him to Billy from a distance earlier in the story. Given how crucial he is in the movie’s climax, his introduction feels disappointingly brief.

The struggle for the throne forms the crux of the story, and this conflict has been carefully constructed from the rich character development that Romero skillfully incorporated throughout the movie. It’s thrilling to watch unfold. The action sequences are well-defined (Romero’s hidden strength lies in his exceptional editing skills), and the ending is heartwarming. However, instead of concluding, the film continues, focusing on Billy’s journey afterwards, and it proves deeply moving.

At the heart of this film, we find themes similar to those in both “Season of the Witch” and “Martin”. The concept revolves around the power that stems from believing in something immaterial, even if it doesn’t exist, and how it can take root within a person as an idea. In this case, the idea is of a medieval-like society based on physical conflict and its associated elements. Billy was attempting to recreate Camelot in the wilds of Western Pennsylvania, seeking authenticity over modernity. In his rejection of contemporary life for something more tangible and genuine, he discovered a connection that resonated with others honestly.

It seems to me that Romero’s film, in my view, appears to be a reflection of his professional journey up until that point. The struggle he faced making his peculiar, small-scale films versus the zombie movies that were his only commercial triumphs, which consumed his artistic skills but feel less personal to him. Knightriders, however, represented his attempt to stay true to himself, following his unique path rather than succumbing to the compromises the world demanded of him.

I truly enjoyed this movie, and while I believe it could have benefited from a longer version, alas, an extended three-hour cut remains elusive. However, it beautifully depicts the themes of anachronism and significance. The acting is commendable, with Savini delivering a particularly impressive performance. Romero’s skillful editing during action sequences keeps things engaging. All in all, it’s a highly enjoyable piece. Its commercial failure might have been one of the most disappointing moments in Romero’s career, as he was far more than just the director of zombie films.

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2025-03-06 00:15