Merlin
Episode Two: “Valiant”
BBC One, Saturday 27 September 2008, 6:00PM
Written by Howard Overman
Directed by James Hawes
Warning: this review contains some spoilers. If you’d rather not know what the story is going to include, bookmark this page and read it after viewing.
The villain collects a really nasty weapon from the really-nasty-weapon-supplier. He’s shown how to use it and… guess who he “tests” it on? Yes, the aforementioned really-nasty-weapon-supplier. Although this is an effective way of highlighting a villain’s untrustworthy nature, it’s unfortunately also extremely predictable—and so certainly not the most inspiring pre-titles teaser for just the second episode of the BBC’s Merlin. It does, however, turn out to be an entirely apt introduction; if there’s one word that best describes this episode, it’s “predictable”. A few minor detours notwithstanding, “Valiant” proceeds from start to finish in an entirely predictable order.
Just because you know your destination, though, doesn’t mean you can’t still enjoy the journey towards it, and there’s plenty enough to enjoy here. The ironically named Knight Valiant—the villain of the piece, armed with a shield containing magical (i.e., CGI)snakes—is presented with believable menace by guest star Will Mellor (best known in the UK for his role in inexplicably successful sitcom Two Pints and a Packet of Crisps). The sword fights that make up the annual Camelot tournament are remarkably well choreographed, performed, and filmed—although that may be largely because of the ability to use helmeted stunt men rather than actors. Time and again, director James Hawes—whose award-winning work for Doctor Who includes “The Empty Child”, “The Doctor Dances”, and “The Christmas Invasion”—really helps develop the story in the way it is shot and edited.
Possibly the best element in the episode is how the main opposition young Merlin faces in trying to protect Prince Arthur comes not from the cheating Knight Valiant and his deadly snakes, but the fundamental class structure integral to Camelot itself. Merlin is constrained by living in a world where the word of a knight is automatically superior than that of a servant. And yet we are also shown the other side of the coin; Prince Arthur is equally restricted by public expectations of the principles of knightly honour.
Admittedly, there are some problems. The idea of a knightly tournament at Camelot that’s watched by peasants and lacks horses strikes an odd note. Worse, there’s the rapidly growing sense that Richard Wilson is being wasted in the role of court physician Gaius, though the same could also be said of John Hurt, who voices the dragon chained up under Camelot. This episode’s trip down into the dragon’s prison was utterly pointless, an excuse for a bit of CGI and some meaningless platitudes. Merlin only needs one elder mentor to guide him on the way. Unfortunately, at the moment he actually has two.
Two episodes in, it’s clear that there remain problems with this new take on Merlin that could build up narrative difficulties later on. At the same time, though, there is enough potential for a unique and thoroughly British take on the legendary characters.