The Nonexistent Knight 1969

This novel centers around two paladins of Charlemagne, characters who embody different aspects of heroism and faith. The main figure is Agilulfo, played by Rita Forzano, a knight of Selimpia Citeriore and Fez, who uniquely animates an empty suit of armor purely through his willpower and unwavering faith in Charlemagne’s cause. Unlike ordinary knights, Agilulfo has no physical individuality, giving him a somewhat ghostly presence, yet his dedication makes him a formidable and revered figure during the epic battles of the time.

Alongside him is Rambaldo, portrayed by Adriana Facchetti, an inexperienced and passionate young man eager to prove himself. Rambaldo joins the ranks of Charlemagne’s army seeking justice for the death of his father, the Marquis Gherardo, who was slain outside Seville by the notorious Argalif Isoarre. His youthful zeal leads him into dangerous confrontations and personal quests that shape much of the story. Rambaldo’s encounters with other characters, especially during tumultuous battles, reflect a mixture of innocence and burgeoning heroism.

The narrative introduces Gurdulù, a mysterious and instinct-driven vagabond, whose actions are guided solely by raw impulse. Under Charlemagne’s command, Gurdulù is assigned to be Agilulfo’s squire, a pairing that highlights the theme of contrasting identities — Agilulfo’s lack of conscious individuality versus Gurdulù’s absence of reflection. The story is narrated by Sister Teodora, a nun of the Order of Saint Columban, played by Hana Růžičková, who recounts these legendary tales from her convent, adding a layer of perspective and reflection to the heroic deeds.

The story unfolds with a series of adventures, battles, and revelations. During a fierce conflict, Rambaldo spots his father’s killer, the Argalif, but the duel is complicated by the Argalif’s nearsightedness — he cannot fight effectively without his glasses. Rambaldo inadvertently breaks the spare pair, and in a tragic irony, the Argalif ends up impaled on an enemy’s lance, dying from a lack of proper vision. Later, Rambaldo faces ambushes, only to be saved by a mysterious knight in a periwinkle breastplate, who departs quietly after the conflict. On returning to camp, Rambaldo discovers that the noble stranger is Bradamante, a beautiful woman whom he immediately falls in love with, unaware that her affections are directed elsewhere.

Bradamante, played by Rosa Bianca Scerrino, is captivated by the ideal of Agilulfo, ordering her actions based on her admiration for the non-existent knight, whom she perceives as the epitome of perfection. Her fixation introduces romantic tensions and questions about ideals of heroism versus reality.

The plot thickens during a banquet, when Torrismondo—played by Carlo Micolano—discloses startling truths about Agilulfo’s past, claiming that the daughter of the King of Scotland, Sofronia—with whom Agilulfo had previously saved from bandits—might be his mother. If true, it would negate the legitimacy of Agilulfo’s knighthood, which was granted for rescuing her as a virgin. An intense quest follows in which Agilulfo seeks Sofronia to confirm her virginity, while Bradamante pursues Agilulfo, and Rambaldo follows her. Meanwhile, Torrismondo departs to locate his father, a knight of the Sacred Order of the Knights of the Grail, hoping to be recognized as his own son.

Both Torrismondo and Agilulfo eventually find Sofronia, whose true origins reveal she is the daughter of the King of Scotland and a peasant, making her free to love Torrismondo, who is also validated as her brother’s true son. These revelations restore Agilulfo’s honor and validate his knightly actions, but also cause him to lose his sense of perfection. Consequently, Agilulfo dissolves, leaving his iconic white armor to Rambaldo, who begins fighting in it. However, being inherently imperfect like all mortals, Rambaldo soon tarnishes the pristine armor, symbolizing the loss of idealized heroism.

When a Moorish army arrives, led by a nobleman connected to Sofronia’s harem, a fierce battle erupts. During the ensuing chaos, Bradamante, mistaking Rambaldo for Agilulfo, embraces him with her eyes closed—a gesture filled with romantic hope. But when she opens her eyes and recognizes Rambaldo, she is startled and swiftly flees in disappointment. Rambaldo then reveals his true identity, but Bradamante’s feelings remain conflicted.

In the aftermath, Sofronia and Torrismondo marry, settling in a village once attacked by Templars. The villagers, who had fought off the Templars on their own, refuse to accept Torrismondo’s noble title, emphasizing that true heroism resides within the community, not merely in knightly ranks. The story concludes with the revelation that Sister Teodora, the narrator, and Bradamante are the same person. When Rambaldo journeys to her monastery, he finally reveals himself, and Bradamante—accepting him—begins a new life with hope and uncertainty.

This story is rich in symbolism, blending faith, identity, love, and heroism, and explores how ideals can evolve or dissolve over time, especially when faced with the complexities of human nature.