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The Lord of the Rings has ruined film as a medium for historical spectacle. In the climactic scene of Ridley Scott’s Kingdom of Heaven, as the army of 200,000 (actually 2000 Moroccans multiplied by CGI) jihadists under Saladin (Ghassan Massoud) spreads across the plain before the gates of Crusader-held Jerusalem, with countless pennants flying, the sky pierced by siege towers, the air ablaze with Greek fire, no one is going to say, "I wonder whether this is how it really was." Most will probably be saying that The Two Towers was a lot better. Neither can Scott entirely blame the alienation effect of computer animation for removing this Kingdom from the bonds of earth and placing it not in Heaven but in the realm of video games. The truth is, history is bad box office. Many historians claim that the Crusades are the crucible in which all the elements of our modern-day conflict between West and East were formed. Who needs that kind of baggage to clutter up the marketing potential of a $140 million project? Besides, it’s easier to patch together a cliché’d, easy-to-follow story by picking and choosing historical bits, revising them a bit, and making stuff up. People aren’t going to pay 10 bucks just for accuracy (they’re interested only in the weapons and the costumes anyway), especially if it reminds them of present-day events they are trying to escape. Better to keep your movie simple-minded, formulaic, and full of distracting action and leave any commentary in the background. Scott can’t resist getting a little heavy-handed at times. Balian (Orlando Bloom), the blacksmith (a carpenter would be too obvious, also not very cinematic, has had a hard day. His son has died and his wife has committed suicide and is being buried at a crossroads, her head chopped off. And then Balian’s long-lost dad, Godfrey of Ibelin (Liam Neeson, in proto-Jedi form), shows up after mucking around in the Holy Land fighting Muslims for decades to reclaim his bastard son. Balian, disgusted, sends him packing. So can you blame our hero for impaling the disreputable local priest on a half-forged flaming sword and then setting him on fire? Enough of that; it’s off to Jerusalem we go. Now pursued by the law, Balian accepts his dad’s offer to take over his Holy Land estate, and that plunges the simple blacksmith into the snake pit of Middle Eastern intrigue. On one side is King Baldwin (Edward Norton, spooky under a silver mask and sounding like Brando in Apocalypse Now), the reigning Crusader king of Jerusalem and a leper who along with Godfrey and some other right-thinking nobles wants to preserve the tenuous peace with Saladin and the Muslims and try to forge a Kingdom of Heaven on Earth. On the other are the effete (he’s French, or rather Frankish) and ruthless Guy de Lusignan (Marton Csokas), who has designs on Baldwin’s throne, and the wacko Reynald (Brendan Gleeson, out-hamming Brian Cox’s Agamemnon in Troy), who with his army of Templars (Scott doesn’t mention that they’re monks directly answerable to the pope, figuring any one who’s interested will have read The Da Vinci Code) is just a fun guy who wants to kill infidels. Guy is married to Baldwin’s lovely sister Sibylla (Eva Green), and she and Balian fall in love, so he has even more reason to oppose Guy’s evil schemes, as if saving the world and his soul weren’t enough. Some of this is even historical. Scott can’t quite tap-dance around the harsher aspects of the times (the Crusaders massacred 40,000 Muslims when taking Jerusalem in the First Crusade, for example), and his asides (William Monahan’s script is filled with would-be lapidary lines and throwaway details) suggest that an unrepentant secular humanist was behind the story. Indeed, Christian conservative groups are already beating the drums against what they perceive as Ridley’s image of Christian Crusaders as greedy and fanatical (okay, maybe not greedy) murderers who are outshone in nobility by Islam’s Saladin. (Massoud adds insult to injury by putting in the film’s best performance.) They’ll probably condemn Kingdom of Heaven without seeing it. So who will see it? Teenagers smitten with Bloom’s elfin looks who want to see him in an inert love story? Martial-arts fans who come for the swordplay? CGI addicts? I suspect not many are going to describe this film as history writ with lightning, and a lot more are going to wait instead for the final Star Wars episode. |
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Issue Date: May 6 - 12, 2005 Back to the Movies table of contents |
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