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The Guardian - UK
The Guardian - UK
Entertainment
Phil Hoad

Romance, 14th-century style: why cinema has fallen for courtly love

Haley Bennett as Roxanne and Peter Dinklage as Cyrano in Joe Wright's Cyrano
Modern anxieties … Haley Bennett as Roxanne and Peter Dinklage as Cyrano in Joe Wright's Cyrano. Photograph: Peter Mountain/AP

Against our backdrop of revenge porn, dick pic-strewn online dating and embittered incel manifestos, the notion of courtly love couldn’t seem more remote. Cilla Black and Blind Date now seem like something from medieval times – so where does that leave an actual medieval sentimental convention? A goodly knight inspired to perform virtuous deeds and compose the sublimest verse in honour of an idealised lady-love – it’s enough to make a 21st-century onanist yawn and reach for their Fleshlight.

But romance and chivalry aren’t quite dead yet. Cyrano de Bergerac is back in a new musical version this month, as Peter Dinklage lends his alexandrines to help a mate woo the beautiful Roxanne. Married off to no-nonsense bruiser Matt Damon in Ridley Scott’s 14th-century drama The Last Duel, Jodie Comer’s sequestered damsel becomes subject to the attentions of courtly smooth operator Adam Driver. And a silky-voiced consort, played by Alicia Vikander, gave Sir Dev of Patel’s mettle the stiffest of examinations in the penultimate trial of last year’s The Green Knight.

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