Dans la Suisse du XIVe siècle, un chasseur autrefois pacifique mène son peuple à la rébellion après que sa famille et son pays ont été menacés par un roi autrichien tyrannique.Dans la Suisse du XIVe siècle, un chasseur autrefois pacifique mène son peuple à la rébellion après que sa famille et son pays ont été menacés par un roi autrichien tyrannique.Dans la Suisse du XIVe siècle, un chasseur autrefois pacifique mène son peuple à la rébellion après que sa famille et son pays ont été menacés par un roi autrichien tyrannique.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 nomination au total
Résumé
Reviewers say 'William Tell' is lauded for its strong performances, stunning cinematography, and historical authenticity. The narrative of rebellion against tyranny resonates, though dialogue and pacing receive mixed feedback. Some find the script theatrical, and the middle section drags. Historical accuracy and character portrayals are debated. Despite these issues, the film's epic scope and emotional depth make it a compelling historical drama.
Avis à la une
To all the naysayers sharpening their quills, let's get real: William Tell isn't trying to be Braveheart 2.0 (and thank goodness-no one needs another freedom speech in blue face paint). Instead, this film carves out its own niche with a crossbow and a wink.
Sure, some critics are acting like Tell missed the apple and shot their popcorn instead. But let's give credit where it's due: Claes Bang brings more charisma to the Swiss Alps than Mel Gibson brought to the Scottish Highlands. The villains are deliciously over-the-top-Ben Kingsley could probably glare a mountain goat into submission-and the scenery is so gorgeous you'll want to book a flight to Switzerland (or at least Google it).
Is it perfect? No. But neither is Braveheart (historical accuracy, anyone?). If you're looking for a fun, action-packed legend with a dash of heart and a lot less kilt, William Tell hits the mark. So loosen up, critics-sometimes a movie is just a good time, not a history lesson or a revolution.
Let me know if you want more zingers or specific references!
Sure, some critics are acting like Tell missed the apple and shot their popcorn instead. But let's give credit where it's due: Claes Bang brings more charisma to the Swiss Alps than Mel Gibson brought to the Scottish Highlands. The villains are deliciously over-the-top-Ben Kingsley could probably glare a mountain goat into submission-and the scenery is so gorgeous you'll want to book a flight to Switzerland (or at least Google it).
Is it perfect? No. But neither is Braveheart (historical accuracy, anyone?). If you're looking for a fun, action-packed legend with a dash of heart and a lot less kilt, William Tell hits the mark. So loosen up, critics-sometimes a movie is just a good time, not a history lesson or a revolution.
Let me know if you want more zingers or specific references!
Hmmm. Never before have I heard anyone proudly declare "We are Swiss" in quite such an underwhelming manner before, and that rather sums up the lacklustre performance of Claes Bang as the title character in this verbose crossbow chronology. Traumatised by his experiences in the Crusade, he's now not a natural rebel but is instead content to live peaceably with his wife and son. When he comes to the rescue of a stranger whose wife had just been raped and murdered by the occupying troops of the King of Austria (Sir Ben Kingsley) his former valiance is rekindled and releases all manner of hell on his unprepared, unarmed and unsuspecting people. Pursued by the maniacal "Gessler" (Connor Swindell) and his blonde henchman "Stussi" (Jake Dunn), he has to rediscover his skill with the arrow, and yes - there's the legendary scene with the apple and the boy's head! There is some stunning Alpine photography mingled in with the pretty obvious CGI, and to be fair to it there are plenty of action scenes as Tell and his rapidly increasing circle of friends proves to be quite adept at reducing their foes to wriggling corpses. Sir Ben has managed to fish out his eye patch from "The Last Legion" (2007) but like Sir Jonathan Pryce, he doesn't really feature enough to make much more than a few cameo appearances to add a little bit of Thespian gravitas to this rather sterile and flat history. The characters are really lacking in charisma in this film and the long-winded dialogue and charm-free efforts from all but, perhaps, Dunn - think a weedier version of "Stamper" from "Tomorrow Never Dies" (1997) just don't really resonate much at all. There's plenty of attention to the creative detail with the costumes and castles all fitting the bill nicely but it's probably half an hour longer than it needs to be and screams sequel at us at it's all rather rushed end.
It lacks ...power.
Cinematografic it is a beautiful film. Scenery is ok. Actors are good. Story is good. But it lacks some ...power. And that's on the director. This could have been another Braveheart but the dialogs are tame and i miss the hero on a pedastool. Can't exactly point it out but it is not just not there. Perhaps with another director this could have been a great movie.
Cinematografic it is a beautiful film. Scenery is ok. Actors are good. Story is good. But it lacks some ...power. And that's on the director. This could have been another Braveheart but the dialogs are tame and i miss the hero on a pedastool. Can't exactly point it out but it is not just not there. Perhaps with another director this could have been a great movie.
The movie is pretty poor, overall. But that's not what I'm here to flag... by far the most jarring aspect is they've lifted Al Pacino's Peach With Inches speech from Any Given Sunday, in parts practically verbatim, for Tell's rousing the troops before battle. WTF is that all about??
Not even a little bit, a nod to it, huge chunks.
"In any fight, it's the man whose willing to die..."
"You gotta look at the person sitting next to you, look in the eye and ask that person are you willing to die for me..." but delivered in the least inspiring, spine chilling way that it should make Pacino cry himself to sleep.
Not even a little bit, a nod to it, huge chunks.
"In any fight, it's the man whose willing to die..."
"You gotta look at the person sitting next to you, look in the eye and ask that person are you willing to die for me..." but delivered in the least inspiring, spine chilling way that it should make Pacino cry himself to sleep.
So... I came for arrows and rebellion.
I stayed for moody stares and dramatic cloak-swishing. And I left wondering: was this a freedom fighter or a medieval therapist with anger issues?
Claes Bang plays William Tell like he's auditioning to be the next Batman - dark, brooding, and emotionally constipated. The man shoots maybe one arrow, but delivers about 947 intense silences. Respect.
Ben Kingsley shows up and casually steals every scene with the smug energy of someone who knows this isn't going to win any awards - and doesn't care. Icon.
Highlights: Gorgeous Swiss mountains.
Enough slow-motion stares to power a shampoo commercial.
Historical drama that thinks it's Shakespeare but sometimes feels more like a LARP gone rogue.
Lowlights: Pacing so slow, I checked my pulse. Twice.
A hero with all the charisma of a wet log.
Dialogue so dramatic, it circles back to being hilarious.
Bottom line: It's not a bad movie. It's just very committed to being serious... even when it really shouldn't be. Like wearing full armor to a garden party.
Watch it with wine. Or snacks. Or while folding laundry. You won't miss much if you blink - or nap.
I stayed for moody stares and dramatic cloak-swishing. And I left wondering: was this a freedom fighter or a medieval therapist with anger issues?
Claes Bang plays William Tell like he's auditioning to be the next Batman - dark, brooding, and emotionally constipated. The man shoots maybe one arrow, but delivers about 947 intense silences. Respect.
Ben Kingsley shows up and casually steals every scene with the smug energy of someone who knows this isn't going to win any awards - and doesn't care. Icon.
Highlights: Gorgeous Swiss mountains.
Enough slow-motion stares to power a shampoo commercial.
Historical drama that thinks it's Shakespeare but sometimes feels more like a LARP gone rogue.
Lowlights: Pacing so slow, I checked my pulse. Twice.
A hero with all the charisma of a wet log.
Dialogue so dramatic, it circles back to being hilarious.
Bottom line: It's not a bad movie. It's just very committed to being serious... even when it really shouldn't be. Like wearing full armor to a garden party.
Watch it with wine. Or snacks. Or while folding laundry. You won't miss much if you blink - or nap.
Le saviez-vous
- AnecdotesDespite being a national hero in Switzerland, there is no concrete historical evidence that William Tell ever existed.
The earliest written account of the story appears in a 15th-century chronicle called the "White Book of Sarnen", more than a century after the events are supposed to have taken place.
Furthermore, the act of the hero shooting an apple from his son's head stems from the saga of Toko, who was a servant of the Danish King Harald Bluetooth, who died in 985. Likewise, Toko's story was written down more than two hundred years later, in the epic tale "Gesta Danorum".
Many historians view William Tell as a purely legendary figure, though his story was deeply embedded in Swiss national identity by the time of its writing.
- GaffesThe various castles are shown in their modern forms. Specifically, they have a large number of windows. These were all cut several centuries after the period in which the story is set, when castles were no longer required to be fortresses.
- ConnexionsVersion of Guillaume Tell et le clown (1898)
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- Guillermo Tell
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 43 088 $US
- Week-end de sortie aux États-Unis et au Canada
- 26 554 $US
- 6 avr. 2025
- Montant brut mondial
- 680 624 $US
- Durée2 heures 14 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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