Game of Thrones
| April 17, 2011 (United States)
Summary: Nine noble families fight for control over the lands of Westeros, while an ancient enemy returns after being dormant for millennia.
Countries: United States, United KingdomLanguages: English
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Game Of Thrones Season 4 Review
Game Of Thrones Season 4, After Game of Thrones had become such a sensation, one of the first worries that viewers had when the programme returned for its fourth season was whether or not it would ever be able to surpass the level of shock that was delivered by the Red Wedding in the previous season. This gruesome episode had several fatalities that were quite tragic and shocking, which radically shook up the competition for the Iron Throne. And that wasn’t even the version that George R. R. Martin had written himself. After Blackwater in Season 2, it solidified the show’s predilection for presenting a final episode (traditionally referred to as the 9th episode) that tips the scales in the season. Blackwater was the episode that reinforced this penchant.
When you consider all of this, it comes as quite a shock to learn that Season 4 delivers its very own version of “The Rains of Castamere.” This episode, often known as “The Purple Wedding,” is the one in which Joffrey Baratheon, the currently reigning king, is killed, which substantially affects the power dynamic in “Game of Thrones.” This passage was written by George R. R. Martin, who contributed it to the episode that was intended to be his last contribution to the series. This fact will please fans of the books more than anybody else. The Lion and the Rose is able to successfully build tension from events that on the surface appear to be less stressful, and this palpable tension builds and builds until it explodes with Joffrey’s eyes turning purple and the king collapsing in his mother Cersei’s arms, pleading for help one last time. Even though the fact that such a monumental event took place is a huge deal in and of itself, the fact that this development takes place as early as the second episode, framing Tyrion Lannister and fueling a trial that runs throughout the rest of the season’s King’s Landing segments, is an even bigger deal.
Things of a very monumental kind take place throughout Season 4, and the beauty of these developments, as the aforementioned episode demonstrates, is that they are not held back until the “9th episode.” The ninth episode of this season is, if anything, one of the worse episodes in the series in terms of the shock value it gives, but it is the most impressive episode in terms of spectacle (yet). It involves a full-scale attack / combat between the Wildlings and the Night’s Watch, sometimes known as Watchers on the Wall after the episode’s title. The whole of the season leads up to that confrontation as Jon Snow first infiltrates, then betrays, and then returns to his brothers to prepare them for the fight that is to come. And what a battle it is, with Giants and Thenns and hundreds of other clans fighting for the Wildlings against only a few hundred men who are part of the Night’s Watch. The director of Blackwater, Neil Marshall, is back to stage some excellent sequences, such as a continuous pan shot that carries the camera from the ground to the top of the wall and another that rotates 360 degrees to showcase the brutality of the assault over Castle Black. Both of these shots are included in the film. The importance of this episode and the one that comes after it lies in the fact that they contribute to the Wall overtaking King’s Landing as the location with the most interesting plot in all of the Seven Kingdoms by the time the current season has come to an end.
Going back to the previous episodes, there are a lot of major events in store for one of the most significant players in the jigsaw, Daenerys Targaryen, in the next fourth season. After conquering Astapor and Yunkai in the same season with relative ease, she sets her eyes on Meereen, which does not immediately acknowledge her as their legitimate ruler. This process takes some time. Littlefinger’s plot progresses quickly as well, and he eventually reveals himself to be the mastermind behind a number of games taking place at King’s Landing and across the Seven Kingdoms. To achieve his goals, he forms alliances with anyone it takes to get the job done. And for the first time, we see the programme dramatically divert from or leap forward to the novels by providing information about the White Walkers and how they build their numbers, which was received with universal pleasure from fans.
In addition, Dorne is brought into sharper light via Oberyn Martell’s perspective in Season 4. Oberyn is a fascinating character, despite being driven only by the need for vengeance. This is despite the fact that the mysterious Pedro Pascal delivers a flawless performance as Oberyn. Pascal puts some depth into the character of Martell by bringing to the foreground his great fighting abilities with a spear and the fact that Martell is pansexual. This makes it all the more difficult to watch the character go towards the conclusion of the season. One of the most aggravating aspects of the programme is that it has a tendency to introduce powerful characters who are practically in the main role, have the audience root for those characters, and then get rid of those characters within a season or two. And Martell’s departure comes after a friendly conversation he had with Tyrion Lannister (which was largely Pascal’s idea), in which he refused to recognise the imp as the monster his father had made him out to be. This conversation was followed by Martell’s departure.
Game of Thrones does not shy away from killing off important people, despite the fact that the show’s core cast is starting to shrink. By the time the show’s main cast reaches its conclusion, many of the main characters have been eliminated, but many others remain. There are a few deaths that are frightening, some that are unexpected, others that are poignant, and a few that are even welcome. A pivotal chapter in Jon Snow’s story comes to a rather heartbreaking conclusion, which is made even more so by the emotionally stirring score composed by Ramin Djawadi. I don’t want to give anything away specifically, but it’s important to note that this conclusion is made possible by Ramin Djawadi. And just like every other episode, the season concludes on a pretty high note, with crucial characters like Tyrion and Arya venturing out of their familiar environments and into unexplored regions. Their travels lead them to some unusual but fascinating locations, as future reviews will demonstrate more fully.
In spite of the fact that a significant portion of the funding was allocated to the Watchers on the Wall project, the movie nonetheless has a number of other exciting sequences of action. The most dangerous of these are the dragons, who are putting on significant size very quickly. In addition, there is a storyline about Danerys’ struggle to maintain control over them, which brings them even more into the spotlight, necessitating some intensive effects work. The Mountain and the Viper also has a battle that is brilliantly choreographed between Oberyn and the Mountain. The fight is kept brief, but it goes quickly and involves action that is not really seen in this sword-fight filled production. It’s a brand-new combat technique, but sadly, it’s gone almost as soon as it starts. Despite this, the fact that it’s unique to this episode lets the conclusion of that hour stand out more.
It would be pointless at this point to remark on the performers and their performances since everyone is at the top of their game. They have all immersed themselves so thoroughly in their roles that they are unrecognisable from their real-life selves when they are shown on television. Peter Dinklage as Tyrion in what is a rather limited arc yet, made the most of by the actor who, despite being confined to a dungeon for the majority of the show, has some superb moments and outbursts and confrontations during and after his trial that linger on for a long time after they occur. If I were to single out highlights, it would be Peter Dinklage as Tyrion in what is a rather limited arc yet, made the most of by the actor Kit Harrington is another highlight; he is gradually making his way to the forefront of things as his arc gathers more prominence. He portrays the struggle between loyalty and betrayal and devotion to the watch like a warrior, not to mention the fact that he kicks some serious Wilding butt through his sword-fights. And it’s fantastic to watch Emilia Clarke genuinely develop from the timid and mute “Khaleesi” of Season 1 to the powerful, uncompromising, but worried ruler of the slave towns that she frees. This is a beautiful development to see.
There are hardly any glitches to be detected at all, with the exception of the timing of a few episodes that come in between others. Game of Thrones has evolved into a programme that consistently receives a score of ten out of ten, often on numerous episodes within the same season. This is in contrast to most series, which are fortunate to get a single perfect score of 10 out of 10 during the course of their entire run. It is a testament to the consistently strong writing by David Benioff and D. B. Weiss along with some strong plotting by Bryan Cogman, great source material courtesy of Martin, and some great directors, many of whom are handed multiple episodes together with a strong cast and sound technical crew that manages to deliver season after season of pure awesomeness. It is a testament to the fact that “Game of Thrones” is able to deliver season after season of pure awesomeness. This programme is not even close to being through, and the rest of it is going to be an exciting buildup to the climax of everything that’s happened thus far.