From worldbuilding to action sequences, Peter Jackson’s Lord of the Rings trilogy altered the fabric of cinema itself. And yet, every fight in LOTR arguably pales before a short duel in The Princess Bride. Rob Reiner’s 1987 adventure-fantasy remains as epic today, 38 years after its release, partly thanks to Inigo Montoya’s swashbuckling charm.
Inigo’s journey to find the man who murdered his father propels his character arc forward, even if he fights other people along the way. As such, it’s the battle between Inigo and the so-called “Man in Black” that emphasizes The Princess Bride‘s heartwarmingly simultaneous focus on both swordsmanship and sportsmanship. Inigo and Westley don’t know it when they meet, but their duel ultimately forges the entire story together.
The Prelude to the Sword Fight Established Two Distinct Hero’s Journeys
From its metafictional beginnings — The Princess Bride narrated as a bedtime story for a sick child (Fred Savage) in the real world — the movie aims to be something different. Although William Goldman’s original novel also features a metanarrative, the adaptation reframed the author’s perspective into something more relatable than mere exposition.
That said, the introductions of the strong-but-silent Westley (Cary Elwes) and his paramour Buttercup (Robin Wright) followed the standard fantasy tropes of farmhand-meets-pretty maiden. Separated by the tides of fate, Westley promises to return and fulfills that oath when Buttercup believes him to be dead. Upon realizing that she was to marry Prince Humperdinck, however, Westley would embark on what would become a classic hero’s journey.
But he wasn’t the only Princess Bride character with a grand goal, even if the movie repeatedly banged on about the greatness and rarity of true love. Inigo Montoya (Mandy Patinkin) had been roaming the world in search of “the six-fingered man” who coldly murdered his father, with Inigo’s path only crossing Westley’s because of pure circumstance. If Prince Humperdinck had been a good man, The Princess Bride might never have let these two meet.
Inigo and Westley’s hero’s journeys would collide spectacularly atop the Cliffs of Insanity, though the two characters get to meet each other beforehand. Climbing behind the kidnappers of Buttercup, Westley was left clinging to the cliffs when the rope was cut. Inigo stayed behind to stop him and help the others complete the mission, and their initial interactions revealed everything there was to know about either man.
In its now-beloved comedic fashion, The Princess Bride showcases a heartwarming prelude that sets a delightful stage for the upcoming battle. Inigo is the first to introduce himself, pleasantly wondering if Westley’s having trouble with the climb. After a bit of playful banter, Inigo does something unique: he offers to help Westley. When reminded of the risks in trusting him, he makes a promise “on the soul of [his] father, Domingo Montoya.”
The slow zoom of the camera and Inigo’s determined face expose the truth behind his declaration, convincing Westley. In fact, the Spaniard even offers to wait until the Man-in-Black is ready before inevitably lapsing into his backstory. And viewers soon realize that it’s impossible to resist the allure of a good revenge tale.
In this moment, both Westley and the audience accept that his opponent is an honorable man, not just because of Inigo’s noble endeavor but also because he’s extremely fair and honest despite the impending “fight to the death.” And when they’re done sharing personal space like the best of friends, they commence the battle with equal lightheartedness.
The Battle atop the Cliffs of Insanity Is Surprisingly Complex
The first and foremost difference between the sword fighting in The Lord of the Rings and The Princess Bride is the musicality. While Howard Shore’s multi-Oscar-winning score remains a masterpiece collection, The Princess Bride‘s composer was the unparalleled Mark Knopfler, former frontman of Dire Straits and one of the greatest musicians of the late 20th century. And there’s no scene more evident of Knopfler’s talents than Inigo vs. Westley.
“You seem a decent fellow,” Inigo says, and Westley repeats, and the first synthesizer thrums into view, percussive blobs setting the background — or so it seems — for the sword clanging. But soon enough, viewers recognize the sounds merging and syncopating. As they sway at each other, each clash ringing echoes, Inigo and Westley exchange their strengths and knowledge of fencing.
Like two famous masters in a friendly sparring match, Westley and Inigo dodge, parry, lunge, retreat, evade, and feint their way across the clifftop. Then comes the great plot twist that viewers had secretly known this whole time — Inigo was fighting with his left, or non-dominant, hand. Before Westley finished his climb, his opponent mentioned wanting to use this tactic to prolong the fight.
The music takes a sharp turn upon this revelation, a heavier, darker sound than before, and a clear indication of crescendoing dread. The drums sync up with the swords for a glorious moment — and then only the synths as Westley reveals the double left-handed plot-twist. It is only now that the fight takes on an epic shape, with both opponents giving it their all. The stakes rise in proportion to combat ferocity, and the sound becomes a screaming orchestra.
Inigo and Westley exchange dozens of engagements, as fencing blade contacts are known, a flurry of attacks and counter-attacks that emphasize their similar prowess. Mandy Patinkin and Cary Elwes trained and practised fencing for nearly a month, and it shows right here. Smooth movements like silk, almost like they were unrehearsed, as the pair raises dust clouds in a tightly locked dance. Even the point of no return — Westley definitively gaining the upper hand — feels natural.
It’s all over when Inigo uses both hands to swing his sword like a mindless brute. With a few brisk snaps and swishes, Westley disarms him and renders him helpless. The music disappears entirely, leaving only Inigo’s gasps and the howling wind. As Inigo falls to his knees and prepares for death, Westley declares that he “would as soon destroy a stained-glass window as an artist like” his opponent before knocking him out.
The fight was so fierce that it left forensic evidence, allowing Prince Humperdinck to analyze the scene and accurately predict the future movements made by Westley and Inigo. Humperdinck’s distinction between the “winner” and the “loser” eventually leads him to Buttercup, but this was never a difference noticed by the actual combatants.
Music may have held the fight together, but it was their shared bond that shaped the story’s heroically successful conclusion. Before leaving, Westley claims to hold Inigo “in the highest respect,” a testament to their emotional connection during the duel. Without this mutual feeling of admiration and appreciation — as well as the kindly support of the gentle giant Fezzik — Westley and Inigo wouldn’t have helped each other complete their hero’s journeys.
Inigo and Westley’s Bromance Is a Highlight of The Princess Bride
The paths of Inigo Montoya and Westley overlap once again in The Princess Bride‘s third arc — they are inseparable after Inigo saves Westley from his “mostly dead” state, except for a brief period when both men have to accomplish their main tasks. This bromantic coupling was both unexpected and delightful, transforming the movie’s classic-coded fantasy beyond the cliches of true love and rabid vengeance.
Inigo reaches the end of his twenty-year ordeal by challenging Count Rugen, the six-fingered father-murderer, but the fight nearly goes against him. Rugen flings a dagger into Inigo’s abdomen, leaving the latter gasping his last breaths, only to return stronger than ever. Interestingly, Inigo starts and ends his final duel with his right hand, demonstrating a seriousness that wasn’t there with Westley.
Meanwhile, Westley doesn’t even have a climactic battle in The Princess Bride; he barely manages to trick Prince Humperdinck with a combination of good fortune and pure confidence. Although Fred Savage’s character had earlier wondered who was going to kill the villain, The Princess Bride subverted fantasy cliches by forcing the pathetic prince to marinate in his shame and failure. Humperdinck “would live a long life alone with his cowardice.”
The culmination of Westley and Inigo’s bromance comes just before their escape. The pair stand close in a tower window, warmly looking at each other, and Westley bequeaths the title of “Dread Pirate Roberts” to Inigo. Even if there weren’t any homoerotic undertones between them — and some fans would disagree — it’s entirely possible to ship them as a platonic pair. And that’s just one of the many delights of this ’80s fantasy masterpiece.
Ultimately, The Princess Bride proves that honor matters more than victory and companionship more than power. Inigo and Westley don’t just cross swords — they recognize themselves in each other, forging a bond that turns rivalry into respect and reshapes both their fates.
The Princess Bride
- Release Date
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September 25, 1987
- Runtime
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99 minutes
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Robin Wright
The Princess Bride