Summary
In the twilight hush of a 1921 projection booth, a celluloid reverie unfurls: a callow reader of Twain’s satire drifts into narcotic sleep and plummets through parchment centuries, landing saddle-sore on the mossy stones of Camelot. The dreamer—part trickster, part Yankee mechanic—rides a thundering Indian motorcycle down torch-lit corridors, scattering armored genealogies like ninepins. He teaches iron-clad ignorance to fear nitroglycerine’s whisper, rigs a telegraph from stolen harp strings, and turns Merlin’s tower into a Tesla coil of crackling publicity. Courtly maidens swoon to the syncopated flicker of newsreel footage projected on a bed-sheet; jousts collapse into Keystone chaos when a sidecar detonates. Yet beneath the slapstick anachronisms, the film stages a bruised meditation on progress: every gadget births a fresh superstition, every democratic boast curdles into feudal PR. When the dreamer awakens, the projector’s afterglow lingers like gun-smoke over Verdun—leaving the spectator to wonder whether modernity itself is only another dragon that must be ritually slain each century.
Synopsis
In 1921, a young man, having read Mark Twain's classic novel of the same title, dreams that he himself travels to King Arthur's court, where he has similar adventures and outwits his foes by means of very modern inventions including motorcycles and nitroglycerine.
Director
Cast
