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Season 8, episode 3, "The long night"
"Game of Thrones" has several outstanding battles to his credit. Director Miguel Sapochnik has delivered some of the best, with "Hardhome" and "Battle of the Bastards". But even with this impressive history, I was a little afraid that the huge battle of Winterfell (and hugely moved) on Sunday night could well be a too epic clash for its own good in terms of stakes (life against death), staff (everyone we love) and length (the episode recorded at 1:22).
Would we finally, in the biggest episode ever attempted by the series, fight too much to do justice to the conflict and create the emotional impact that history deserves and that viewers deserve?
Not today.
Sunday's final clash was a masterpiece of tension and liberation, goose bumps and grief, grandeur and intimacy. He skilfully mixes genres (horror, action, melodrama), plans, and action plans as he moves from the chaos of fighting in and around Winterfell to the claustrophobic terror of crypts in the fight of dragons in the world. 'winter.
Since C.G.I. become the default mode of Hollywood for the representation of the fights, the fights on the screen are bigger, longer and longer, more and more elaborate and, consequently, more and more tiring. Think of the hectic, scary, and destructive sequences of cities that end all superhero movies. (I have not seen the new "Avengers", I apologize to the Russo brothers if they managed to avoid this cliche.)
"Game of Thrones" has mostly avoided this convention by making his fights collections of memorable and revealing moments rather than epic confrontations overwhelmed by chaotic blows, falls and chaotic spittle. There are many, of course, but what you remember is that Ygritte died in Jon's arms Battle of Castle Black, the king of the night who raises the dead at Hardhome, incredible Bronn sprint for the Scorpion during the attack of the booty train (still very stupid name).
Likewise, when I think back to the battle of Winterfell, I think of the moving scene when the Dothraki swords ignited with a wave of fire, to extinguish it one by one in the distance. I will remember the absolution of Theon and Lyanna who sacrificed himself to kill a giant of zombies in a deeply symbolic moment, even very sad, the smallest warrior shooting the greatest enemy. (Wun-Wun, was it you?) The dispatch of the king of the night by Arya was truly surprising and made with emotion.
It was not flawless – the dragon's action, in particular, was often difficult to follow (more details below). But in the end, despite the sheer scale of the confrontation and the endless hype we heard about the 55-night shoot that was filmed, the Battle of Winterfell exceeded expectations.
We will have later, but for the moment some additional thoughts:
• The death toll included predictable deaths (Theon, Jorah) and less (Melisandre!), But each was deeply felt and served individual goals, one of the main themes of this episode. Jorah died as he would have liked, protecting his beloved Khaleesi. Theon and Lyanna had heroic ends. Beric saved Arya so he could save everyone. And Edd bought it by becoming the first of several people to rescue Sam, who spent most of the episode on his back shouting.
• And I suppose Rhaegal is dead too?[Miseàjour:Ilapparaîtdans[Update:Heappearsin[Miseàjour:Ilapparaîtdans[Update:Heappearsinthe episode 4 trailer, apparently he did not do it.]My main complaint about the episode concerns dragons, especially the air war. Thanks to the fact that the action was very dark, as usual, and that the dragons were hard to distinguish – some color-coded saddles would have been nice – I often could not tell who was who and what was happening exactly.
• What happened to Ghost?
Please check later for a more detailed version of this summary.
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