With all the hype of Twilight, which I’ve not seen, I wanted to focus on my favorite star-crossed-by-fantasy-curse lovers film which captured my heart as fiercely as Twilight seems to have captured the hearts of legions today.
While Twilight seems to strike a chord with teens, who are very impressionable when it comes to romance sans sex, and, something which seems to amaze or impress the press, “moms” and other women who are missing the romance with or without the sex, this chord of emotional longing is also something that most of us hunger for at any age. (If you don’t believe me, please consider the theme of the bulk of popular music in our culture, of which longing, loss and pain are the mainstay. See also Alessia’s Puppies, Kittens & Vampires, Oh My!) So while this film is a film I first saw when I was in my still-wistful-and-not-yet-jaded 20’s, it continues to move me as an adult of a certain age.
The film is Ladyhawke (1985).
In Ladyhawke, thief Phillipe “The Mouse” Gaston (Matthew Broderick) escapes from the dungeon prison at Aquila, with the medieval soldiers of the guard of the ruler of Aquila in hot pursuit.
Phillipe "The Mouse" Gaston (Matthew Broderick) Escapes
Just as The Mouse is cornered, he is rescued by a mysterious black knight. This knight is Etienne Navarre (Rutger Hauer), and his appearance creates quite a stir with the soldiers — not just for his rescue of the escaped prisoner, but, we soon learn, Etienne is the bishop’s sworn enemy.
Etienne Navarre (Rutger Hauer)
When Etienne discovers that The Mouse has escaped from the dungeons of Aquila, the knight decides that the thief’s knowledge of escape can be used in reverse to sneak in unseen to Aquila and kill the evil bishop. As the two travel together, The Mouse (and we the audience) discover some odd things about the black knight…
He rides on horseback by day, talking to a hawk on his arm; at night he disappears, and at the same time a wolf appears. And that’s not all; when the hawk disappears at night, a beautiful woman appears.
The Mysterious Ladyhawke
When both Etienne and the hawk are injured during another fight with the bishop’s guards, The Mouse is instructed to take the hawk to an old abbey where Father Imperius the monk (Leo McKern), will heal her. It is there at that abbey that we see the hawk transform into the beautiful Isabeau d’Anjou (Michelle Pfeiffer) — and the monk tells the tale…
The wicked bishop lusted after Isabeau, but she and Etienne (then the captain of the bishop’s guards) were lovers. Once the bishop learned of their love, he turned in rejection, bitterness, and hate to the devil, selling his soul to the devil for a curse to be placed upon on the lovers.
The curse made Isabeau a hawk by day, resuming her human form at sunset when Etienne took the form of a wolf. At sunrise, Isabeau would get a glimpse of her love returning to human form before she would become a hawk again, and sit on his arm.
Etienne & The Hawk
The cursed lovers were doomed to always be together… Yet always apart… Catching glimpses of each other at sunrise and sunset.
But now, armed with The Mouse’s knowledge of the dungeons & the monk’s belief in a scientific prediction, there just might be a way to break the curse — or at least seek revenge…
The film’s scenery is amazingly, undeniably breathtaking. So is Michelle Pfeiffer. I think Vincent Canby, at The New York Times, said it best:
… Miss Pfeiffer, who may well be the most beautiful woman in movies today, is demonstrably someone worth risking eternal damnation for. Her presence, both ethereal and erotic, is so vivid that even when she’s represented as a hawk, she still seems to be on the screen.
Isabeau d'Anjou (Michelle Pfeiffer)
While Ladyhawke has been criticized for it’s “dialogue of a banality” (and please note that no one accuses the actors of ham-handed delivery of same — even considering Time Out‘s reference to Hauger being “camp”), I find the combination of stereotypical fairy tale talk & sometimes simplistic lines mixed with modern phrasings as both providing refreshing accessibility (sort of reversing the theory of Baz Luhrmann’s 1996 Romeo + Juliet) and amusing in a near fourth-wall breaking sort of a way.
The result is a transformation to a perceived collective “fantasy past” as well as a sense of possibility of living that dream today… It touches me, moves me, in ways that many might feel I should be ashamed to admit — or that I should refer to as a “guilty pleasure.” But I won’t, you see. Because to do so would smear Ladyhawke — and hasn’t she suffered enough? What’s more, calling Ladyhawke a “guilty pleasure” besmirches romance itself.
Why deny the existence of the power of romance? I’m no more likely to deny my love of romance than I am to deny my love of family (which is founded upon such notions & commitment) or my love of my country (which is a collection of families founded on romantic love — all of which agree to protect & pursue romance).
So, when the movie ends, I cry like The Mouse and the monk. And I won’t apologize for it either.
The Emotional Ending