For Ralph Feinnes, second time’s the charm as he gets a gentleman spy do-over
Relishing the chance for a gentleman spy do-over, Ralph Fiennes finds himself perfectly suited to the role of the dashing Duke Orlando Oxford, an aristocrat destined to become The King’s Man. This film finally offers Fiennes a chance to erase the ghosts of his previous venture into high-concept spy territory, The Avengers, and instead embrace the suave sophistication of a man born to wear a tailored suit and brandish a deceptively harmless cane as The King’s Man attempts to blend history with high-octane action, serving up a narrative cocktail that’s as ambitious as it is, perhaps, unbalanced.
Set during the chaos of World War I, the film takes us on a whirlwind journey through political machinations and the birth of a secret spy network. Duke Oxford, played with an air of resigned stoicism by Fiennes, finds himself in a race against time to protect his son, Conrad (Harris Dickinson), from the horrors of war. The narrative is peppered with colourful historical figures, most notably the infamous Grigori Rasputin, brought to life with a near delirious gusto by Rhys Ifans as Rasputin’s disruptive presence injects the story with a unique blend of lunacy and menace.
Moreso than its predecessors – even The Golden Circle – The King’s Man is a kaleidoscope of tonal shifts, swinging from sombre war drama to the kind of outlandish antics that have become a signature of the Kingsman series. Fiennes delivers a performance that anchors the film, his portrayal of Oxford a masterclass in balancing the gravity of a father torn between duty and love. His chemistry with Ifans, when they finally come face to face, is electrifying, each scene crackling with an unpredictable energy that keeps the audience on the edge of their seat.
Visually, The King’s Man is everything you’d expect from director Matthew Vaughn. Intricately choreographed fight sequences, each punch and parry a mesmerising spectacle of camera movement and slow motion. The cinematography captures the era with a painter’s eye, the opulence of the European elite set against the grim realities of war. It’s a film that immerses you in a world long since vanished where aristocracy and nobility were assumed to be indelibly linked.
Yet, amid this visual artifice, the film wrestles with its own identity. The attempt to weave together historical events and fictional spy escapades results in a web that’s as tangled as it is intriguing. Characters flit in and out, some leaving lasting impressions, others barely a mark and the screenplay often feels as though it’s juggling too many threads, each vying for the spotlight, leaving some arcs feeling underdeveloped, as if this prequel isn’t entirely sure whether it wants to be one-and-done leading into Kingsman: The Secret Service or whether it wants to leave some wiggle room for more historical hijinks.
One thing that cannot be faulted is the sly casting of Tom Hollander, who steps into the roles of three key monarchs—King George V, Kaiser Wilhelm II, and Tsar Nicholas II. This archly metatextual joke not only highlights the era’s notorious interbreeding among European royals, but subtly critiques the absurdity of how familial squabbles in the European elite ignited a conflict that cost millions of lives.
The King’s Man’s decision to opt, occasionally, for a more serious tone might catch fans of the franchise off guard but it’s a bold move that showcases the series’ willingness to evolve, even if it occasionally stumbles in its execution. While it lacks the effervescent charm of Kingsman: The Secret Service, or the gimmicky craziness of The Golden Circle it offers a fresh perspective on the world of the Kingsmen, one that’s a little darker and a bit more contemplative.
