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In Nimona, Ambrosius Goldenloin’s inner monologue is vitally important to establishing his true character and his arc throughout the film.
The following article contains spoilers for Nimona, streaming now on Netflix.
Throughout the recently released Nimona, the romance between Ambrosius Goldenloin and Ballister Boldheart is a core part of both of their characters. However, the filmmakers had the difficult task of keeping Ambrosius likable and understandable, even though he spends most of the movie trying to capture both Ballister and Nimona. One key scene in establishing Ambrosius’ inner turmoil is a quiet scene with Ambrosius and the Director in a car. In the scene, Ambrosius seemingly confides in the Director, but the scene is revealed to be an inner monologue instead.
This monologue allows the audience a view into Ambrosius’ inner thoughts and his own turmoil. Throughout the film, Ballister has Nimona to confide in and bounce ideas off of, but this scene highlights how alone Ambrosius is at the Institute without Ballister there. This scene is crucial in allowing the viewer to have sympathy for Ambrosius even though he is working against Ballister and Nimona. This means Ambrosius’ inner monologue helps the audience to fully root for his happily ever after with Ballister at the film’s end.
Goldenloin’s Inner Monologue Establishes How Alone He Is in Nimona
Throughout the beginning of the film, Ambrosius is clearly set up as the “golden boy” of the realm. As the direct descendent of Gloreth, he has the weight of the all the expectations that role entails. This role leads Ambrosius to build an emotional wall between himself and everyone else except for Ballister throughout the film. Because of this wall, the first time the audience gets to fully see how everything is affecting him is in the car scene when Ambrosius’ inner monologue allows him to fully vent his feelings.
In the monologue, Ambrosius questions his role as the descendent of Gloreth. He states, “Who am I? A direct descendent of Gloreth? I never asked for that.” In an interview with CBR, Eugene Lee Yang, the voice of Ambrosius, explains that he connected with the character because of the pressures he faces between who he is on the outside and the ways in which Ambrosius’ true self and changing beliefs conflict with that role. These lines highlight that conflict and showcase the pressure that Ambrosius faces due to his lineage.
At the beginning of the monologue, Ambrosius states that he has “lost everything” because he seemingly lost Ballister. Ambrosius is questioning everything he knows about Ballister, but he also has begun the hard journey of questioning the world around him and himself. His loyalties are clearly divided between the Institute and Ballister. While Ambrosius’ conflicting loyalties are subtextually apparent from the beginning, by making the subtext text, the filmmakers allow Ambrosius to remain understandable despite the fact that he still works within the Institute.
Ambrosius’ ultimate silence about his feeling in the car highlight how alone he is in the Institute. Subconsciously, he knows that he cannot trust the Director, even though he does not yet know the full extent of her treachery. However, he also has no one else that he can confide his feelings to because Ballister was the only one he actually trusted. This scene confirms that Ambrosius is not involved in the Director’s true schemes, and he is instead her pawn. However, Ambrosius’ monologue shows that while he remains with the Institute, his true loyalty and trust is not with the Director or his fellow knights. Instead, his heart remains with Ballister.
Goldenloin’s Car Scene Sets Up His Happy Ending with Ballister in Nimona
Ambrosius’ inner monologue also allows him to stay a viable and rootable love interest for Ballister despite his actions. Most importantly, the car scene addresses Ambrosius cutting off Ballister’s arm. Despite his training, Ambrosius is clearly horrified by his own actions, and he even begins to yell “Who chops off an arm? Because I was trained to? Arm-chopping is not a love language” before the monologue cuts off to reveal that Ambrosius has been silent all along. Earlier in the film, Ballister reframes this action as “disarming a weapon,” forgiving Ambrosius. However, this monologue proves that Ambrosius has not forgiven himself and does not accept that his training supposedly excuses his actions.
His inner turmoil shows that he recognizes that he should have found a less violent way to get the sword away from Ballister. Because Ambrosius already shows remorse, the audience can have more faith that he will fully address his failure to trust Ballister when the two reunite.This line is also particularly important because it connects Ambrosius to Nimona’s spirit of rebellion. Nimona says the exact same thing to Ballister in the scene before when she questions Ballister’s trust in Ambrosius. The two are further connected later when Nimona transforms in Ambrosius to trick the Director into confessing, and Ambrosius later barges into the room using the exact same opening line as Nimona did during her act.
Despite Ambrosius’ confusion and slight jealousy over Ballister and Nimona’s friendship, he actually is more like Nimona than he realizes. This connection establishes that, despite Ambrosius’ loyalty to the institute and to his lineage, on the inside, he actually is far more like Nimona than his peers among the knights. Thus, the monologue sets up Ambrosius’ redemption and his return to his romance with Ballister. Ambrosius’ monologue sets up his ending in the film by keeping him relatable even as he makes decisions that the audience disagrees with.
Because the filmmakers allow Ambrosius the space to confide his true feelings, albeit internally, the audience is given a clearer picture of who Ambrosius truly is. Thus, even though Goldenloin’s inner monologue in the car seems like a small scene, it is vitally important to Nimona’s heartwarming ending, Ambrosius’ redemption arc, and his happily ever after with Ballister.