Isle of Brittany, 5th century. The absence of King Arthur is sorely felt as Lancelot du Lac reigns terror. The resistance remains limited to a handful of faithful including the eternally little awakened Perceval and Karadoc. Finally convinced to leave his exile, Arthur Pendragon will try to unite the rebel clans to overthrow the tyrant to whom he has abandoned the throne. Lancelot is supported by Horsa and his Saxons, as well as by some opportunist nobles. Arthur’s former traveling companion remains blinded by his hatred towards the one who is his rival in his quest for the Grail and for the affection of Guinevere …
First part of a trilogy
Fans of the “Kaamelott” series have long awaited this sequel, announced as the first part of a trilogy. They will find many cult members of the large troupe, starting with the creator and main performer, Alexandre Astier, joined by many others including the loyal Perceval and Karadoc (Franck Pitiot and Jean-Christophe Hembert) always so little gifted for communicate intelligibly despite this long interlude during which they learned nothing.
The television format allowed for a rather balanced proliferation of protagonists. Here, they crush the narrative, characters coming and going in a maelstrom of eerily shortened or redundant appearances. Alain Chabat and Géraldine Nakache, the Duke of Aquitaine and his Duchess, amuse the time of their scene. Antoine de Caunes (Dagonet), François Rollin (Loth d’Orcanie) and Christian Clavier (the jurisconsult) form an amazing trio of vehement but weak advisers while Sting turns out to be a relevant choice as leader of the Saxon mercenaries seconding the monstrous Lancelot , wrapped in a corseted uniform that makes him look like a second-rate Darth Vader.
For others, the usefulness of their presence remains unconvincing to advance the story or to make people laugh, despite the affection we have for them after so many years.
Some effective gags
The newcomers Clovis Cornillac and Guillaume Gallienne who follow one another to find the fugitive are thus underdeveloped. Thomas Cousseau (Lancelot) remains too much in the shadows, despite his dramatic potential. We smile more than we laugh, we respect ambition more than we admire, despite the richness of the settings visited. The promised epic breath seems reserved for the next two parts just like the opportunities to laugh out loud, with the exception of a few effective gags. There remains this delicious taste for pictorial replicas, more literary or even musical than funny, which Alexandre Astier still knows how to give us. To be continued…
Comedy by and with Alexandre Astier, and with Alain Chabat, Christian Clavier, Sting, Franck Pitiot and Jean-Christophe Hembert.
Support a professional editorial staff at the service of Brittany and the Bretons: subscribe from € 1 per month.