Oliver Davis reviews the ninth episode of Game of Thrones Season Two…
Blackwater.
Directed by Neil Marshall.
Written by George R.R. Martin.
As predicted last week, Blackwater was centred entirely on the Battle of Blackwater Bay, a significant event near the end of Clash of Kings. And Game of Thrones brought its A-game, with director Neil Marshall (Dog Soldiers, The Descent and, most usefully for the sword-based battle sequences, Doomsday) and was written by the big man himself, George R.R. Martin. He’d only written one episode prior – season one’s The Pointy End.
What is it with episode 9s? Last season’s had Ned Stark beheaded on Baelor’s steps, whilst this year we’re treated to one of the finest, prolonged battle sequences ever committed to television. For the series thus far, I’ve broken down each episode by character, as is the book’s style. But no episode has ever been as focused as Blackwater, all presiding over the events of one night, in one location – King’s Landing.
The Calm
…the episode began with the same, brooding tone of last week. Tension was thick in the air, the narrative cutting curtly between those preparing for battle. Davos (Liam Cunningham) spoke with his son during their approach to King’s Landing, the night cloaking them both in silhouette – a smart decision, as even HBO must adhere to a budget; Bronn (Jerome Flynn) sung with his Gold Cloaks, raising their spirits despite the Hound’s (Rory McCann) best efforts; Tyrion (Peter Dinklage) had a farewell shag with Shae (Sibel Kekilli), though it was his bromance with the eunuch Varys (Conleth Hill) that feels more poignant. The two have rivaled Tywin and Arya for the season’s most engaging duo, and their verbal swordplay can often be more entertaining than the real stuff.
They are nearly made even closer as Varys forgets himself, water welling in his eyes, when he starts the tale of how he was “cut”. The monologue strongly hints it was done for some dark magic, but Tyrion doesn’t believe in such folly, only that which he can see. Varys has come closer to the darkness, and if rumours that Stannis serves the red priest Melisandre are true, there is much more at stake here than the fate of King’s Landing.
And finally, before the storm, there’s a classic Joffrey (Jack Gleeson) moment with his betrothed, Sansa Stark (Sophie Turner). He’s got a new sword, and has named it Hearteater. “Kiss it,” he commands Sansa, enacting out some warped oral fantasy.
The Wildfire
…but Joffrey’s arrogance is brittle in the face of Stannis’ fleet. “They’re getting closer!” he whines at his uncle, but Tyrion lets them sail further into Blackwater Bay, coaxing them into his trap. Davos has realised something is awry, but he is too late. Bronn fires a flaming arrow into an abandoned ship that has floated through the middle of Stannis’ armada. It bursts into a spectacular green flower, engulfing everything within its bloom. The ship was full of Wildfire, the fiery substance Tyrion’s pyromancers have been making since episode five.
A series of explosions and shots of men diving into the sea aflame follow. The fire appears alien, not burning in our accustomed reds, oranges and yellows. The book often makes mention of heavily armoured men on boats – if they find themselves overboard while still at sea, they’ll be dragged to the ocean’s bed for a lengthy sleep. Davos was dressed comparatively lightly. Let’s hope he’s alright.
The Mud Gate
…Tyrion may have played an effective opening game, but Stannis is a determined fellow. He quickly lands his men on land to storm King’s Landing’s weakest point – the Mud Gate – allowing the two forces to meet in hand-to-hand combat. Still in darkness, the night compliments the battle, leaving most of the bloodshed to the imagination, colouring it with clangs of steel and glimmers of moon upon a helm’s top.
Still, there’s a lot of bloody blood.
It’s everywhere – and in all kinds! There’s spraying blood when swords tear through a man’s arm; there’s squelchy blood, when heads are caved in by rocks dropped from the walls above; and there’s good old fashioned leaky blood, whenever people get a nasty cut, or an arrow through the chest.
Blood – blood is fine. Fire, however, not so good for the Hound. Fire’s the reason he covers half his face with stringy hair. Fire is what his brother, the Mountain Who Rides, shoved his head in when he was a boy. Sandor Clegane cannot take the heat, and he runs from battle.
Joffrey flees to his mother soon after, so Tyrion is left alone defending the mud gate. It feels as though all of series two has been building to this moment, that the games and abuse Tyrion has played and suffered have been in preparation for his ride into glory. He gives a rousing, realistic speech to the disheartened men – men who are ready to leave when they see they’re to be led into battle by an imp. “They’ll burn your houses, they’ll rape your women”, he stokes. “Those are brave men knocking at your door. Let’s go kill them!” he finishes, triumphantly, capturing the hero / smart-arse dynamic of his character.
The Rains of Castamere
…Tyrion leads them into fight, and initially fares well. There’s even a moment of brief respite where his men start chants of “Half-Man!” But Stannis’ forces are five times as strong, and the tide sweeps over them once again.
Tyrion is cut deep across his cheek, although it is his nose that is severed in the book. A welcome sidestep. Covering an actor of Linklage’s ability in prosthetics would be a mistake.
As he lays near-death in his squire’s lap, an army on horseback ride in slow motion through the night’s Wildfire fog. It’s Tywin Lannister (Charles Dance), who set forth from Harrenhal in the last episode. Yet he is accompanied by Loras Tyrell (Finn Jones), who undoubtedly seeks revenge for his lover, Renly Baratheon, who was slayed by a shadow demon of Stannis’ making.
Loras is of House Tyrell, which must now be aligned with the might of the Lannisters. This is a significant alliance, and one that will presumably bring an entirely new host of characters in season three.
“The war is won,” Tywin declares as he strides towards the Iron Throne at the episode’s close. The sombre credits to roll, accompanied by a version of ‘The Rains of Castamere’ (a song about Tywin Lannister in the books), sung by Matt Berninger of The National.
Stunning.
Oliver Davis
