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Film: Shogun Assassin
Release date: 29th November 2010
Certificate: 18
Running time: 85 mins
Director: Robert Houston
Starring: Tomisaburo Wakayama, Kayo Matsuo, Minoru Oki, Akiji Kobayashi, Shin Kishida
Genre: Action/Adventure/Drama
Studio: Eureka!
Format: DVD & Blu-ray
Country: Japan/USA
After the long running success of the Lone Wolf and Cub manga series, Shogun Assassin marks the cinematic opening chapter of this tale of a samurai warrior and his infant son taking bloody revenge against an evil Shogun. Daddy Day Care this is not.
The old Shogun becomes paranoid about being overthrown by his soldiers, so orders assassins to kill Ogami Itto; one of his best samurai warriors.
Whilst Ogami - and his young son, Deigoro - manages to survive the attack, his wife is killed. Brutally striking down the rest of the assassins who come after him; Ogami vows revenge on the Shogun and sets off on the road to destroy his enemy, bringing little Deigoro with him in a wooden baby cart.
Ogami and Deigoro wander the land, the samurai taking assassination jobs for money along the way, whilst constantly fighting off the Shogun’s ninja...
Whilst a film of this genre trades heavily on its gore and violent content – the film was previously banned – the violence is rather run of the mill. Yes there is blood, guts and people’s limbs flying here and there but it’s all really been done before in Japanese thrillers similar to this – and, crucially, better than this.
Thankfully, the film just about saves itself by having more depth to it than just than being another hack and slash revenge thriller. Instead, the story focuses heavily on the themes of revenge, damnation and the bond between parent and child. Maternity and paternity are some of the strongest themes running throughout this film, and it is from the latter that Ogami gains much of his power. The task of protecting Deigoro creates a focused demeanour for the protagonist, and also a sense of loose purpose, besides seeking revenge on the Shogun. However, maternal instincts are strongly portrayed. A fine example is shown as a master female ninja relinquishes her attack on the duo when Deigoro’s life is placed in danger. Despite facing death for failing to kill Ogami and Deigoro, she cannot bring herself to end the young boy’s life.
Kenji Misumi, the director, also does well to make some of the scenes sublimely atmospheric. This is achieved from interesting directorial tricks, such as framing characters against spectacular background visuals or using close up shots of the characters’ eyes to create insightful gazes into the minds of the key players. Misumi also uses the scenery and the mise-en- scène to create extra emphasis, such as displaying shots of cut bamboo lacerated by Ogami’s sword as he kills one of the shogun’s soldiers.
Whilst the cinematography is well realised, the narrative path suffers from a lack of direction. The story, at times, feels aimless, and seems to have no point to it aside from documenting the torture and betrayal felt by Ogami and his son, as well to show as how they are struggling to survive on a daily basis. Whilst this is interesting, it is not as exciting as the hype surrounding the film would suggest. Additionally, a few sub plots are added on, but ultimately the film doesn’t feel like it’s going anywhere until it is long past the midway point. It is possible the pointlessness of the plot symbolises Ogami’s own sense of pointlessness in life, after having his world torn apart. Unfortunately, if true, this doesn’t make for good entertainment.
Some moments do compensate for the brooding gaps in Shogun Assassin’s plot but these, by contrast, are incredibly silly and absurd. Luckily, these don’t detract from the enjoyment of the more serious scenes - Deigoro operating booby traps from his cart, ejecting knives into the enemies attacking him, or when ninja assassins start firing bladed parsnips at Ogami.
Whilst Shogun Assassin is no epic yarn, it is mightily enjoyable. The premise is refreshingly different to other samurai films in that Deigoro actually assists his father, despite his very young age. This film manages to strike a good balance between humour and drama, whilst keeping the action compelling enough to follow. Also the idea that Deigoro and his father are actually damned by their outlaw status adds a sense of tragedy to the proceedings. DJ
Unquestionably the most popular samurai film in the West since the days of Akira Kurosawa, this chanbara classic was lifted from a hugely popular comic book saga and, still wet, transferred glistening to the screen.
After being framed for disloyalty to his clan lord, disgraced ronin Itto Ogami (with 3-year-old son Daigoro in tow) travels medieval Japan as the most skilled samurai-for-hire bar none. But as the treachery and obstacles in his latest mission quickly pile up, Ogami is forced to handle it the only way he knows how.
A re-scored, re-dubbed reassembly of the first two films in the Lone Wolf & Cub series, the result has become an ageless cult sensation in its own right: a crazed thrill-ride in a booby-trapped baby cart, propelled on arterial spray, hurtling gleefully to nowhere.
Ltd Ed Dual Format Steelbook (Blu-ray & DVD) edition, with stunning, fully-restored 1080p presentation of the uncut film in its original aspect ratio.
Film: Shogun AssassinRelease date: 29th November 2010
Certificate: 18
Running time: 85 mins
Director: Robert Houston
Starring: Tomisaburo Wakayama, Kayo Matsuo, Minoru Oki, Akiji Kobayashi, Shin Kishida
Genre: Action/Adventure/Drama
Studio: Eureka!
Format: DVD & Blu-ray
Country: Japan/USA
Special Features:
•
New video appreciation of the film by actor Samuel L. Jackson
•
Two
• commentary tracks: one featuring producer David Weisman, illustrator Jim Evans and actor Gibran Evans (the voice of Daigoro); the second with film scholar Ric Meyers and martial arts expert Steve Watson
•
Original HD theatrical trailer for Shogun Assassin
•
Original Japanese trailers for all six of the original Lone Wolf and Cub films
Film: Pirates Of Langkasuka
Release date: 8th November 2010
Certificate: 12
Running time: 114 mins
Director: Nonzee Nimibutr
Starring: Dan Chupong, Ananda Everingham, Jakrit Panichpatikam, Jesdaporn Pholdee, Anna Ris
Genre: Action/Adventure/Fantasy/History
Studio: E1
Format: DVD
Country: Thailand
Originally released in 2008, Puen Yai Jom Salad has been translated into a variety of titles for the international market - from The Legend Of The Tsunami Warrior to the Queens Of Langkasuka, and coming to UK screens as Pirates Of Langkasuka. That each of these alternate titles focuses on a different aspect of the movie hints at just how much Thai director Nonzee Nimibutr has going on within his big budget blockbuster.
In the year 1600 A.D., Queen Hijau of Langkasuka faces coordinated assassination attempts from the villainous Prince Rawai and the pirates’ ringleader Black Raven. Forced to forge reluctant alliances with the Chinese and the Dutch, the queen also marries off one of her younger sisters, Princess Ungu, to the Malay Prince of Pahang.
The Dutch send a powerful cannon to assist the queen, but the ship is hijacked by the pirates, and in the ensuing struggle, the ship is blown up. The cannon sinks into the abyss of the ocean, thereafter made unreachable by the impenetrable depths and a guard of jellyfish.
Recovering the cannon becomes a source of mounting obsession for both sides, as does tracking down Lim Kium, the canon-maker’s apprentice, who is rumoured to have survived the disaster.
Against this background, Prince Rawai recruits Black Ray, the hermit with powers of black magic able to rescue the cannon; and Queen Hijau solicits the help from two men: martial arts master Jarang, and Pari, who is the hermit’s prodigy student, as well as an orphan with a personal vendetta against Black Raven.
As a huge armada of pirate ships, bolstered by recruits from Japan and Java, bears down on Langkasuka, the scene is set for a climactic battle destined to go down in legend…
Given its UK title, expectations are immediately set low in anticipation of an Asian answer to Pirates Of The Caribbean with added martial arts. Depressing enough that Hollywood is set for a fourth instalment of a franchise originally based on a theme park ride without Asia getting in on the action, the most you might be expecting from this Thai movie is at least the eternally pointless Orlando Bloom won’t be making an appearance. It comes as a pleasant surprise, then, that Pirates Of Langkasuka often proves a highly entertaining and inventive movie, even if it does falter on occasions under the weight of its own ambition.
In every sense of the word, this is a blockbuster. In Nonzee Nimibutr, it has a director who has shaped the landscape of modern Thai cinema in the late-90s; screenwriter Win Lyovari, one of Thailand’s most renowned novelists; and an all-star cast that includes a return to the big screen of Jarunee Suksawat after a decade’s absence, as well as stars from Ong-Bak and Shutter. In addition, every penny of its gargantuan budget appears on screen in lavish costumes, ornate set decoration and grandiose visual effects.
Some of it may have been based on actual historical events, but if you’re after an accurate recreation of life in 17th century Malay, Pirates Of Langkasuka isn’t that film. After an opening ten minutes in which a man soars through the sky in a self-made flying machine and a group of assassins demonstrate a Matrix-like ability to defy the laws of physics, it becomes clear this is very much from the 300 school of historical accuracy. Far less cynical than the revisionism of a Pearl Harbour, or much of the propagandistic historical films currently coming out of China, it’s an unashamedly fantastical movie. That being the case, it’s okay if Dan Chupong leaps in the air and flies around a bit during fight scenes which mix swordsmanship with Muay Thai to thrilling effect, just as it’s no big deal that you’re unlikely to find any mention of ninja pirates in the history books.
Pirates Of Langkasuka was originally intended as a two-part tale, but commercial considerations forced Nimibutr to condense it into one 114-minute movie. This does show. The film is overloaded with two many subplots, often overcrowding the film and the viewer’s memory of people and events. As a result, scenes such as Pari returning to his village to find the entire population, including his new wife, brutally massacred, are dealt with too briefly to hold the impact they should.
The condensed plot also takes a toll on the performances, as each of the all-star cast receives too short of a screen time to develop their characters, or fully demonstrate their talents. They come with some big reputations but there’s little on screen here to justify it. The much-heralded return of Jarunee Suksawat is a disappointment, as the veteran actress coasts through the film, and the performances of Winai Kraibutr (Nang Nak) and Dan Chupong (Ong-Bak, Dynamite Warrior) are equally underwhelming. Ananda Everingham, in particular, a huge star in Thailand, with a reputation as a fine versatile actor, often appears as little more than eye-candy for the girls, complete with a scene where he emerges Daniel Craig-like from the sea clad only in a skimpy loincloth. The only truly memorable performance comes from Jakkrit Phanichphatikram as the cannon-maker’s apprentice, Lium Kiam.
All these shortcomings are more or less forgotten, though, come the film’s literally explosive climax, a spectacular clash between the pirates and some impressively large cannons. Nimibutr, aware there’s only so much mileage to be had from the spectacle of a cannon repeatedly shelling ships, throws into the mix dive-bombing hang-gliders, Du Lum sorcerers and one very angry CGI whale. And if you’ve been waiting all your life for the chance to watch a man battle an armada of pirate ships while riding a giant manta-ray, Pirates Of Langkasuka just might be your DVD release of the year.
Fans of Asian cinema, enticed by the impressive credentials on show, may find that Pirates Of Langkasuka promises more than it actually delivers. For everyone else, Nimibutr’s movie is a mildly diverting and enjoyable enough piece of popcorn fodder. GJK
Film: Tintin And The Mystery Of The Golden Fleece
Release date: 18th October 2010
Certificate: PG
Running time: 98 mins
Director: Jean-Jacques Vierne
Starring: Georges Wilson, Georges Loriot, Jean-Pierre Talbot, Milo, Charles Vanel
Genre: Adventure/Drama
Studio: BFI
Format: DVD
Country: France/Belgium
With the impending Hollywood version of Tintin, helmed by industry giants Spielberg and Jackson, on the horizon, set to re-ignite worldwide interest in the Belgian boy detective, canny studio execs have wasted no time in releasing to DVD the two lesser known live action versions from the 1960s, one of which is Tintin And The Mystery Of The Golden Fleece. Comic book creator Herge (who reputedly hated the well loved animated series) allegedly gave his seal of approval.
Tintin And The Mystery Of The Golden Fleece sees Tintin, his long time companion Captain Haddock and his faithful dog snowy travel to Istanbul to collect an old ship which has been bequeathed to Haddock in his old shipmate’s will. They arrive to find the ship – The Golden Fleece - a dilapidated wreck, but none-the-less of extreme interest to a local businessman, who offers Haddock increasingly extravagant bids to buy the wreck for “sentimental reasons.”
Suspecting the ship to hide treasures beyond its broken-down appearance, they decline his offers and decide to keep the ship. Aided by a scurvy crew, they set sail to Athens, following a stipulation of the will to deliver some carpets, and along the way have to dodge several mysterious attempts on their lives. Helped at points by their friends Professor Calculus and the twins Thompson and Thompson, they travel around Europe attempting to solve the mystery of the strange old boat...
You would think it would be hard to go wrong with the thoroughly likeable character of Tintin, but somehow the irrepressible boy/man with the blond quiff made flesh is here a slightly creepy incarnation. The actor inside the blue jumper and plus-fours is Jean-Pierre Talbot, who – so the story goes – was spotted as a Tintin look-a-like whilst teaching fitness on a beach in Belgium, and was subsequently introduced to Herge who gave his approval. Talbot brings to the table the peculiar addition of deft martial-arts abilities, and, like many things about this film, it just doesn’t feel right. Seeing Tintin effortlessly dispatch bad-guys with Bruce Lee-like dexterity is a somewhat disturbing image.
Everybody tries their best with the wooden dialogue and flimsy set pieces, and nobody tries harder than Georges Wilson as Captain Haddock - Wilson’s performance is nothing if not energetic and committed, but someone should have told him that louder doesn’t necessarily mean funnier, and after half-an-hour his manic screaming at the top of his lungs barely raises a smile. It’s not long before his antics become outright annoying.
Where The Golden Fleece succeeds in spades is in nailing the iconic imagery. You can’t deny that – down to Tintin’s blond quiff, Haddock’s bushy beard and Calculus’s green suit - Vierne has nailed the look and feel of Herge’s world perfectly, and anyone remotely acquainted with the original comics will have a great time spotting all the familiar characters. Even Tintin’s faithful fox terrier Snowy is a dead ringer, although sadly the dog’s dry monologue from the comics has been jettisoned for this re-telling.
Tintin And The Mystery Of The Golden Fleece would have worked fine as a twenty minute cartoon, but in its conversion to the big screen most of the magic from Herge’s original comic has been sadly sucked out. The plot, such as it is, appears to have been made up on the fly, and is little more than a thin excuse to have Tintin and his companions travel seemingly at random from location to location around the Mediterranean on the flimsiest of pretexts. Often the story grinds to a halt entirely and we are treated to unrelated, often surreal, ‘comedy’ interludes which are clearly nothing but filler. Also thrown into the mix are a few scenes involving animals, which are slapstick verging on cruelty, and come across as seriously unfunny.
It didn’t work in 1980 for Popeye when Robin Williams tried his hand at the cartoon-to-live action game, and it doesn’t work for Tintin. Sadly, despite Herge’s endorsement, Vierne’s attempt to bring the well-loved young reporter and his canine companion to the big screen is less French farce and more French flop. Except for some fun reminiscing with the strong imagery, this is one for diehard Tintin fans only. LOZ
Film: Tintin And The Blue Oranges
Release date: 18th October 2010
Certificate: PG
Running time: 96 mins
Director: Philippe Condroyer
Starring: Jean Bouise, Jean-Pierre Talbot, Félix Fernández, Jenny Orléans, Ángel Álvarez
Genre: Adventure/Comedy/Family/Sci-Fi
Studio: BFI
Format: DVD
Country: Belgium
As Spielberg and Jackson’s 3D performance-capture epic nears ever closer to release; BFI have decided to raid the vault and unleash this 1964 live action version of Herge’s blonde-haired adventurer.
Professor Calculus makes a televised plea to end world hunger. Later, he receives a desert grown blue orange through the post, which is then subsequently stolen. Along with Tintin and Captain Haddock (and Snowy, of course), he attempts to visit the orange’s creator, Professor Zalamea - but he has been kidnapped.
Calculus is then also kidnapped, and Tintin and Haddock investigate, with Interpol agents Thomson and Thompson in hot pursuit…
The International success of the Tintin books is phenomenal. He is undisputedly one of the true comic book icons. And as with most worldwide phenomenons, he’s had his share of cash-ins - Tintin And The Blue Oranges is one such. A sequel to 1961’s Tintin And The Golden Fleece, it is not surprising that no further (live action) sequels were made.
Although the colour palette and tone are just about right, the production comes across as cheap. Most offensively, it comes across as dull. A bastion of ‘boy’s own’ action-adventure-mystery, Tintin should be exciting, tense and fun. However, this interpretation (an original story not pulled from the books) achieves none of this. The comedy isn’t funny, the action isn’t stirring, the adventure is staid and the mystery…well, who cares?
Of course, the film doesn’t take itself too seriously, and it would be pretentious to view this as anything more than a live action comic book. Those under the age of 10 might be amused by the OTT nature, but the rest of us won’t find much other than mild annoyance.
Jean-Pierre Talbot, the only actor reprising his role from the previous film (his only two film performances), has a strong physical resemblance to Herge’s hero, and also does a decent job of portraying his boy scout-like tenacity, but, unfortunately for him, Tintin is such a bland do-gooder that it requires a much stronger actor to endow any likeability in the character.
Similarly, Jean Bouise’s Captain Haddock, a cantankerous old drunk, should hold the screen easily with his acerbic tongue and strong line in angry rants. But again, beyond a beard and prosthetic nose, little effort has been put into building his character. Bouise spends most of his time mugging for the camera, and indulging in uninspired slapstick.
Little seems to be of consequence as our heroes swan around Valencia at a leisurely pace, getting into arguments and slow(-witted) chases like they’re on a night out in Leeds.
Perhaps those who saw Tintin when they were young will be overcome with nostalgia and lord knows we all have films like that in our collection. But they (and their kids) are the only ones who will get any genuine enjoyment from this dire effort. If all Spielberg and Jackson have to do is better this, they’ve got an easy job ahead of them. SEAN
Film: D'Artagnan's Daughter
Release date: 4th October 2010
Certificate: 15
Running time: 125 mins
Director: Bertrand Tavernier
Starring: Sophie Marceau, Philippe Noiret, Claude Rich, Sami Frey, Jean-Luc Bideau
Genre: Action/Adventure/Comedy
Studio: Second Sight
Format: DVD
Country: France
The words “I shall avenge you” conjure up images of Star Trek, or Dr Lazarus in Galaxy Quest who is farcically tormented by that phrase. Its inclusion at the start of D’Artagnan’s Daughter sets the tone for this luscious period romp through the French countryside. Dumas’ Musketeers ride out again in this adventure. Although their breeches are somewhat straining at the seams these much loved characters of literature are as endearing as their previous incarnations. This time though they have an addition to their number.
The story revolves round Eloise, a young girl living at a convent. She has been left there to be raised by nuns whilst her father D’Artagnan is in service to the King of France.
The convent is disturbed one night by a search party pursuing a runaway slave. The search for him by his pursuers leads to the Mother Superior being killed trying to protect him. Eloise (Marceau) vowing to avenge her death finds a smudged document in the old nun’s personal things. Believing it to be highly important, as lives have been lost for its procurement, she must leave the safety of the convent and find her father the famous D’Artagnan (Noiret). She intends to present him with the paper believing him still to be in service to the young King Louis XIV, and therefore able to help her.
Can Eloise find D’Artagnan and reunite Aramis, Athos and Porthos to save the day and decipher the stained paper?
The film delivers on many levels. Fans of the modern day Hollywood pirate will love it; those who love traditional action romps will also adore it. The script doesn’t take itself too seriously, and instead focuses on delivering story and fun. This isn’t ‘carry on’, though; instead it echoes the balance of early Bond films, with action front and centre followed by entertainment, plot twists and turns. Many little humorous moments are asides, like D’Artagnan’s conversation at the side of the grave of his deceased friend - when he realises he was sitting on his friends head! The audience is in safe hands with Tavernier, the film feels warm and familiar.
Tavernier indulges his audience with long shots of sweeping French landscapes, galloping horses, picturesque castles, heavily wooded glades and beautifully imagined French towns. It is a sumptuous production which is aged only by camera technology rather than production. The cinematography is a joy, and there is a real sense of action and escapism in the film which comes in part from the pace with which Tavernier sets it. The sound of thunderous galloping hooves sets an audible rhythm to the piece, usually closing or opening scenes without a hint of Monty Python.
The costumes, which have such an integral role in any period piece, are also exceptional. Full skirts, which are allowed to become muddied in street fights; and the Musketeers faded breeches and belts, which have seen better times. The villainous woman in red, her role centred on her red costume, frequently enters the scene laden in sumptuous fabric, her menacing appearance seemingly every bit as essential as her dialogue.
The Musketeers are past their glory days, although inexplicably older than they should be. For fans of the original films, seeing the older Musketeers may be something of a wondrous return, but it doesn’t actually deliver all that it could. The physical prowess of the Musketeers may have waned, and certainly much is made of that fact, but their exploits seem hampered often by an overly complicated plot which does not need half of the villainous characters it portrays - the spoilt teenage Louis XIV, quick-witted; sinister Cardinal Mazerin; slave dealer Crassac; and the devious woman in red. Along with these primary villains, there are secondary villainous characters that seem to muddy the waters, and create a somewhat farcical atmosphere of chaos and slapstick. It could be argued that these characters could be halved without very much impact on the narrative, and would in fact aid the audience comprehension.
The father /daughter dynamic between Eloise and D’Artagnan is tricky, and although played well, specifically by Noiret, who shows his experience through the affability he creates, it often leaves an audience wanting some semblance of development or affection between the characters. Although she has been in a convent for most of her life, and Noiret and Marceau play their disagreements with conviction, there seems to be a lack of believability between the two characters, which is a real shame.
Marceau’s depiction of a wide eyed Eloise - although perhaps some might argue she is slightly too old for the role - is delightful. She brings energy to the character. It is well known that Marceau did most of her own stunts in the role, training in swordplay for two months prior to the movie shoot. This could go some way to explain why her rambunctious, cavalier demeanour as Eloise works so well.
The pace of the film often builds up to fight scenes, which don’t seem to have any real bite. This is possibly due to very similar fights, and also the older cast playing the Musketeers. The high energy exertions which are required for believable fight scenes are not matched by these Musketeers echoing their supposed younger days. It is almost impossible to see these men as the canny, heroic, unbelievably dexterous men of Dumas’ books, even twenty years later. Viewers have two choices; to either let this issue glide off them and enjoy the frivolity of the whole film, or get annoyed by the disappointment of these faded idols.
Despite its shortcomings, this is still great fun. It’s a film which will happily reside in any collection and will only benefit from countless viewings. It is a genuine joy, which doesn’t take itself too seriously - a perfect antidote to Hollywood’s on-going love affair with pirates. DHA
Film: D'Artagnan's Daughter
Release date: 4th October 2010
Certificate: 15
Running time: 125 mins
Director: Bertrand Tavernier
Starring: Sophie Marceau, Philippe Noiret, Claude Rich, Sami Frey, Jean-Luc Bideau
Genre: Action/Adventure/Comedy
Studio: Second Sight
Format: DVD
Country: France
Alexander Dumas’ 1844 novel The Three Muskateers, and its story of the young hero D’Artagnan and his three swashbuckling friends, remains one of the most popular and endearing stories ever written. Recently released on DVD, Bertrand Tavernier’s 1994 film D’Artagnan’s Daughter catches up with the same iconic characters twenty years after the original tale concluded, and with an unexpected addition to the original team.
In 1650’s rural France, Eloise, the daughter of the famous musketeer D’Artagnan, has grown up with nuns in a convent in the French countryside. After marauding soldiers chase a fleeing slave into the nunnery and kill her mother superior, Eloise strikes out for Paris to track down her famous father and seek vengeance.
There reunited, and accompanied by Eloise’s newly acquired love interest, the poet Quentin la Misère, they set out across France to find the original three musketeers: Athos, Porthos and Aramis, and seek vengeance on those responsible: the odious slave-trader Crassac and his evil mistress, the woman in red…
Key to the success of D’Artagnan’s Daughter is its mischievous spirit and a wonderful sense of folly, which is entirely in keeping with Dumas’ original novel. It is extravagant; lavish, broadly sweeping, and often ridiculously over-the-top, but unashamedly so. The story is frothy and often frivolous but is completely aware of itself - and pulls off farce beautifully. The dialogue is buoyant and fast paced, with the rapport between Eloise and her father a particular delight. The jokes are frequent, and while the humour often relies on farce and slapstick, there is also a healthy vain of wit running through the film, which would see it benefit from repeat viewings.
The art direction is often stunning, and the period is rendered beautifully. Tavernier captures perfectly the lavish excess of the King’s court, the tactile squalor and filth of the Paris streets, and the sweeping French countryside and it’s ominous, looming castles. As you would expect, the costumes are resplendent; the hats enormous and invariably feathered, the boots high and the ruffled cuffs huge. At court, the finery dazzles and the bosoms heave, and the cardinal’s red cloaks sweep majestically over polished marble floors.
The film benefits from a committed and thoroughly likable cast, each of whom look like they’re having the time of their lives. Sophie Marceau is perfectly cast as the headstrong heroine Eloise, while familiar face Philipe Noiret sails through as the roguish, dashing, but somewhat gone-to-seed hero D’Artagnan. Sami Frey, Jean-Luc Bideau and Raoul Billerey all put in whole-heartedly cavalier performances as the musketeers; all older, slower and wider round the middle than we remember, but still with plenty of fight in them.
The villains are in no short supply, with Charlotte Kady deliciously evil as the woman in red, and Gigi Proietti in equal parts dastardly and hilarious as the scheming, paranoid Cardinal Mazarin. What with the shallow, politically devious teenage king, Louis XIV, and the slave owner Crassac (a marvellously worrisome Claude Rich), D’Artagnan’s Daughter is in danger of suffering from an excess of villains, but thankfully all storylines are resolved by the end, and, if anything, the abundance of foes to be overcome only adds to the sense of farce.
Things are let down a little by some unimaginative fight choreography, and a director who seems uncomfortable handling scenes of close combat. While the ageing cast struggle to handle the exertion, Tavernier’s camera idles uncertainly in the background as the action meanders along, and as a result we are detached from the action. It also requires a certain amount of faith on the part of the audience - and stretched imaginations - to believe that these three pensionable musketeers are still capable of scaling castle walls, riding leaping horses onto boats, and taking on twenty swordsmen single-handedly, but it’s all so good-natured and the stunts generally well presented that it’s easy to give D’Artagnan’s Daughter the benefit of the doubt.
The film is also too long, and feels as if the final act has been extended purely to give the musketeers more screen time while the story veers away from the plight of Eloise. It’s not a critical error, but feels unnecessary and could leave some viewers’ attention wandering.
Camp, frothy, and dazzling, D’Artagnan’s Daughter is a rip-roaring delight. Bertrand Tavernier manages to capture all the delight and folly of Dumas’ novel while adding a new spin to a familiar tale - and reminds us of why these characters and their swashbuckling exploits were once the most popular story in the world. LOZ
Film: Fitzcarraldo
Release date: 21st May 2007
Certificate: PG
Running time: 151 mins
Director: Werner Herzog
Starring: Klaus Kinski, Claudia Cardinale, José Lewgoy, Miguel Ángel Fuentes, Paul Hittscher
Genre: Adventure/Drama
Studio: Anchor Bay
Format: DVD
Country: Peru/West Germany
Over the years, there have been many actor/director collaborations of note: Robert De Niro and Martin Scorsese; and Toshirō Mifune and Akira Kurosawa are a couple of the better known examples. However, few have been as intense and impassioned as the work undertaken by director Werner Herzog and actor Klaus Kinski. Continually at odds with each other, with Herzog allegedly having to direct Kinski at gunpoint for parts of their first collaboration Aguirre, Wrath Of God (1972), they managed to make four more films together. Of the five films – including a remake of the silent classic Nosferatu with Kinski as Dracula in 1979 – the most infamously arduous, and perhaps most rewarding is their penultimate effort, Fitzcarraldo.
Set in the Amazonian jungles of Peru, European entrepreneur Brian Sweeney Fitzgerald (Kinski) – referred to as Fitzcarraldo by the locales – dreams of bringing his foremost love of opera to the town of Iquitos by building a grand opera house, and having the work of his favourite tenor Enrico Caruso play there.
Being the owner of the defunct Trans-Andean railway company, the town’s tycoons – many of whom enjoying success in the booming rubber industry – are quick to ridicule and dismiss Fitzcarraldo as an eccentric dreamer. Only successful brothel owner and lover Molly (Claudia Cardinale) believes in him.
To raise the capital required, Fitzcarraldo investigates setting himself up in the rubber business. With the help of rubber industrialist and friend Don Aquilino (José Lewgoy), Fitzcarraldo finds a section of land unclaimed by the rubber companies because of its inaccessibility - cut off from boat travel because of a treacherous stretch of rapids. With Molly’s financial assistance, Fitzcarraldo buys a three storey steam boat from Aquilino, and assembles a crew to venture out to the unreachable part of the jungle with an unorthodox plan…
Despite the innumerable problems with the film’s production (unpredictable weather; losing original lead actor Jason Robards halfway through due to a bout of dysentery, and having to start the film from scratch with Kinski; getting caught in the middle of violent disputes between the local Amazonian tribes being used as extras; not to mention dwindling morale from a disheartened crew), Fitzcarraldo miraculously manages to disguise these destructive elements, and presents a serene and frequently beautiful journey about one man’s unflinching obsession.
Regardless of the fisty-cuffs that may have occurred off-camera with Herzog, Kinski easily delivers one of his finest performances – based on real-life rubber baron Carlos Fitzcarrald – with a quiet intensity that never gets too hammy or pretentious. His Fitzcarraldo is a man with a seemingly indestructible spirit, whose determination in realising his dream peaks during the film’s famous centrepiece, where hundreds of native tribes people drag his 300 tonne steamboat over a mountain to avoid the perilous rapids.
Lewgoy’s Don Aquilino and Cardinale’s Molly also stand out lending the film an ensemble feeling, as opposed to it being merely a vehicle for Kinski’s occasional scenery chewing, which is very much restrained here.
Kinski’s subtle yet energetic performance ensures that the film’s languid two-and-a-half hour run time, whilst obviously long, never drags. Fitzcarraldo’s steamboat drifts serenely through miles of unspoilt jungle; a small beacon of civilisation in an otherwise savage world, creating a sense of isolation and foreboding that simply could not be achieved in a slapdash ninety-minute edit. Herzog manages to create a strong sense of a journey being undertaken, with the film’s length allowing such progression to evolve unhurried.
Herzog’s camera is simultaneously passive and active; lingering on an image the one minute and exploring as much as possible the next - revealing inherent beauties that would otherwise go unnoticed. Fitzcarraldo’s steamboat (christened Molly after its benefactor) becomes a character in itself; a clear symbol for man’s impact on nature, especially when Fitzcarraldo and his army of tribesmen – eager to assist who they mistake to be a white god travelling on the divine vessel – cut down hundreds of yards of jungle to clear a path for the boat’s slow journey over the mountain, which is achieved through building a complex network of winches made from the cut down trees.
The iconic boat pulling sequence – the scene that is synonymous with the film – is indeed very impressive to see unfold - from clearing the path to dragging the ship up through the mud hillside. It may be interesting to note that this was all done for real by Herzog and his cast and crew, with a bit of motorised assistance. In fact, the entirety of the film was done for real. Everything was shot on location in the Amazon, and on a real boat giving the story a weathered realism that simply couldn’t be replicated on a sound stage. This, coupled with Herzog’s vérité style camerawork, suggests an almost documentarian execution that makes the transpiring events even more engrossing to watch. We want Fitzcarraldo to succeed against the obstacles placed before him, making the film’s eventual denouncement all the more involving and emotional.
Fitzcarraldo is proof positive that you don’t need large scale battles for a story to feel epic. Sadly, this kind of filmmaking is a rarity nowadays; moving an entire cast and crew out into the jungle for the best part of a year is a prospect that most modern studio financiers would balk at, but, as a result, you feel as though you’ve been on a very real journey.
Herzog’s quirky humour is also present: the steamboat’s captain working out which tributary they are sailing on by tasting the water, and the image of an opera being transported on a fleet of small boats compete with instruments, performers in costume and false battlements crammed on (and hanging off the sides) are but two of the film’s stranger moments, providing welcome light relief. There are magic realist touches in the form of Fitzcarraldo’s beloved gramophone playing his idol Caruso for all the jungle to hear, with events turning to his favour each time the record is played.
In a way, Fitzcarraldo has some similarities to the positively nightmarish Apocalypse Now (1979) filmed a few years prior, or better still its literary source: Joseph Conrad’s Heart Of Darkness. Both works feature a group of people travelling up river through unfriendly lands (the Amazon in Fitzcarraldo and the African Congo in Heart Of Darkness) led by a man driven by obsession.
Its dreamy pace may dissuade some viewers, but Fitzcarraldo is a terrific and rewarding cinematic achievement, and a testament to Werner Herzog’s determination to realise his vision, rivalled only by the determination of the film’s eponymous lead. Despite the frequent, sometimes massive setbacks during the film’s production (painfully captured in Les Blanks’ making of Burden Of Dreams, which is included in the 25th Anniversary set), the film is wonderfully executed and remains coherent and interesting until its final satisfying moments. MP
Film: D'Artagnan's Daughter
Release date: 4th October 2010
Certificate: 15
Running time: 125 mins
Director: Bertrand Tavernier
Starring: Sophie Marceau, Philippe Noiret, Claude Rich, Sami Frey, Jean-Luc Bideau
Genre: Action/Adventure/Comedy
Studio: Second Sight
Format: DVD
Country: France
Nearly a full decade before Johnny Depp’s Jack Sparrow sailed the seven seas, spurning authority and balking at the prospect of meeting a gruesome end, Philippe Noiret’s D’Artagnan was doing much of the same in rural France. Alexandre Dumas’s original three musketeers became four with the introduction of surly D’Artagnan, and even though this new installment of a much-coveted franchise sees the musketeers weary ageing men eager to recapture former glories, the result is just as farcical and pulsating a swashbuckler as its plucky, rum-fuelled descendant.
Tavernier’s film, however, is less about the musketeers themselves than it is about the titular character Eloïse (Marceau), daughter of the fourth musketeer, and every bit as keen to aid the French resistance. Her discovery of a curiously-worded note sparks speculation about whether there is a plot against the French monarchy, a conclusion hastened by the increasingly volatile behaviour of the Duke of Crassac, and his merciless muse Elgantine de Rochefort.
Eloïse turns to her estranged father for advice on the matter, the result of which is that the musketeers are reunited for one last(?) quest, accompanied by Eloïse herself, and romantic poet Misère, who is courting her affection…
More than any other element of D’Artagnan’s Daughter, Philippe Noiret’s turn as D’Artagnan is responsible for setting the comedic tone of the piece, as his interaction with Marceau - a striking doppelganger of Isabelle Adjani, if more fickle an actress – provides an interesting aside to the goofing around. Noiret is the core of the ensemble, managing to come across as a different outlet for everybody’s frustrations; an intimidating but effortlessly cool father-in-law, and to his colleagues a helplessly noble sucker for a ‘cause’.
One of the amiable successes of D’Artagnan’s Daughter is its ability to unite a set of characters so loosely bound, with wildly different approaches to adversity, to its common cause of libertarianism. Eloise is carrying out a moral crusade, while her father seems to enter the battle out of duty; Misere is a dreamer who wants to make an impact, while the other musketeers are as resigned to accept the situation as workers asked to cover a shift at short notice. Despite this, there are few moments where you wonder just what this troop of folks are doing together, which is admirable given that the ‘mission’ itself, however uncertain and sporadic, has a distinct air of the novelty about it.
The group impetuously push on with their venture, unsure of who exactly is threatening them and in what capacity, drunk on activism and motivated by a general distaste for the current political situation. As an early scene involving the murder of a Mother Superior is depicted with all of the pulp of a sherry trifle, it becomes clear that this is a project much more devoted to the sillier, camp elements of 17th century France, keen to excise historical hang-ups from the musketeer mantra. As a consequence, D’Artagnan’s Daughter feels more token, reliant upon wit and pace, carrying with it all of the irony of watching people fight for fighting’s sake, rattling off quips about each other’s incompetence, putting their own appetite above each other’s safety.
There’s a tiresome, roundabout slog to the film’s constant desire to win over an audience through non-committal bitchiness and predictably-sarcastic pockets of humour. At over two hours, it’s little surprise that the film cannot sustain its energy through this technique, dissipating as a frothy comedy and delivering lite on the promise of concrete historical satire. One is reminded, more often than not, of those pesky Pirate films, and their distracting approach to a laboured, idea-shy narrative.
It’s somewhat of a credit, but largely a misguided deferral, to suggest that the most chiefly apt description of D’Artagnan’s Daughter is ‘fun’. As well as it captures the period with marauders in tunics and brazen women in suggestive attire, D’Artagnan is just that bit too stagy and familiar to sidestep the self-consciousness of a script so skewed towards generating laughter from general indifference and incompetence. It draws attention to its own motivations far more than one would like.
As a bit of a maverick venture, D’Artagnan’s Daughter fairly obviously coasts on the notable eccentricities of Dumas’s work, and feels exactly that; a well-meaning fixture, rather than a genuine extension of the franchise. It introduces a different angle to a well-known story, but is too content to hide behind flippant remarks, its lack of ambition curbing any legitimate shots at glory. This may be more than mildly entertaining fare, but it isn’t one for all. CR
Film: Le Bossu
Release date: 4th October 2010
Certificate: 15
Running time: 124 mins
Director: Philippe de Broca
Starring: Daniel Auteuil, Fabrice Luchini, Vincent Perez, Marie Gillain, Yann Collette
Genre: Action/Adventure/Drama
Studio: Second Sight
Format: DVD
Country: France
An adaptation of Paul Feval’s 19th century historical novel, Phillippe de Broca directed the 1997 French film version of Le Bossu (The Hunchback). A lavish and handsome production, Le Bossu (released in some English speaking countries under the title On Guard) provides much in the way of buckle and swash; mixing real historical elements from its early 18th century setting in France with added drama and adventurous derring-do thrown in.
Forming a friendship with the famous French swordsman the Duke of Nevers (Vincent Perez), Lagardere (Daniel Auteuil) follows his friend and sword fighting mentor as the Duke travels to remote countryside to marry the mother of his infant daughter Aurore (Marie Gillain). However, Nevers’ dastardly cousin Gonzague (Fabrice Luchini) stands to lose his inheritance of the Duke’s fortunes with the discovery of Aurore’s birth, and ruthlessly orders the killing of the Duke and his entire wedding party.
Gonzague takes Nevers’ devastated would-be wife as his own, and lands the killing blade stroke to Nevers when he is not looking. Yet, unbeknownst to Gonzague (who assumes the pair drowned), Lagardere survives the onslaught of the henchmen and saves Aurore from harm. Before Gonzague gets away from the scene, Lagardere manages to brand his hand with a mark from his blade, so that he may recognise the perpetrator of his master’s downfall. As he lies near death, the Duke of Nevers requests vengeance by Lagardere on his behalf, no matter how long it may take him to achieve.
With sixteen passing years, Lagardere has brought up Aurore and passes on the legendary secret of the ‘Nevers Attack’ sword thrust. Concealed within a travelling troupe, Lagardere and Aurore live peacefully until the devious Gonzague discovers that they are still alive, and sends his scarred main henchman Peyrolles (Yann Collette) to hunt them down. Yet the wily Lagardere has a trick up his sleeve to finally gain vengeance for his friend the Duke, gaining Gonzague’s confidence in his guise as a hunchbacked financier, with the aim to reclaim the Duke’s estate in the name of the rightful heiress Aurore…
A major part of the success (in addition to some of the excess) of director Phillippe de Broca’s Le Bossu lies in the sumptuous period styling of the film, with a shine on the screen and bright colours of the Duke’s splendour shot by cinematographer Jean-Francois Robin (along with costume design by Christian Gasc) feeling wonderfully evocative of Enlightenment era France. This backdrop adds to the sense of peril and adventure in the film, as well as adding an almost mythical fairytale-esque glow to the events and swashbuckling proceedings.
Daniel Auteuil gives a stirring performance as the heroic Lagardere, who is following in the footsteps of Vincent Perez’s ridiculously charismatic Duke of Nevers. Le Bossu’s numerous sword fighting scenes, featuring multiple onscreen characters, are certainly extremely well choreographed, where the style of the legendary ‘Nevers Attack’ is a suitably heroic movement with gruesome visual consequences.
However, despite the Le Bossu’s extravagant stylings and highly enjoyable swordplay, de Broca’s film never feels quite sure of its dramatic intentions, and occasionally crosses into somewhat parodic territory. The performances of the lead actors (whilst played sincerely) come across in a fairly pantomimic fashion, undoubtedly accentuated by the over-the-top (yet no less impressive) period setting. While Auteuil’s performance is gleeful and entertaining, some smaller dramatic moments with Marie Gillain’s Aurore are also somewhat stilted.
Fabrice Luchini is highly engaging as the scheming baddie of the story in a way that is reminiscent of a French language version of Alan Rickman’s Sheriff of Nottingham in Robin Hood: Prince Of Thieves. Yet, consequently, the over-the-top elements of the character feel rather pantomimic, and Luchini’s character Gonzague lacks real menace despite his foul deeds and extroverted villainy. For instance, Lagardere is able to infiltrate the inner workings of Gonzague’s operation by using his penchant for hunchbacked servants against him, successfully going under the guise of a hunchback financier. Gonzague’s main henchman Peyrolles (a wonderfully disconcerting Yann Collette) is also blatantly villainous in appearance, serving as the scarred and twisted muscle behind Gonzague’s plots to kill off his nemeses.
Despite these eccentricities, Le Bossu remains consistently enjoyable throughout its two-hour running time. The superb sword fighting set pieces and adventurous scope almost compensate for the film’s misgivings, and allow the viewer to be transported to a time of heroism and rumbustiousness in a significantly heightened crowd-pleasing way.
An entertaining swashbuckling romp, Philippe de Broca’s Le Bossu portrays a painterly view of 18th century France in lavish sets and locations. Daniel Auteuil is a charming rogue in his portrayal of Lagardere (although perhaps Gerard Depardieu was too busy filming Leonardo DiCaprio’s The Man In The Iron Mask to take the role at the time), where Fabrice Luchini and Yann Collette are suitably devious as the villains of the piece. An enjoyable, audacious and fun-filled adventure. DB
Film: Apocalypto
Release date: 11th June 2007
Certificate: 18
Running time: 132 mins
Director: Mel Gibson
Starring: Raoul Trujillo, Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead
Genre: Action/Adventure/Drama
Studio: Icon
Format: DVD
Country: USA
The late 16th century brought an end to the enigmatic Mayan civilisation, which dominated Colombia and its neighbouring countries as far back as 2000BC. Their decline remains one of the great archaeological mysteries: the Mayans were fabled for their forward thinking, particularly in their use of mathematics, which enabled them to formulate unrivalled astronomical knowledge. However, they were unable to prepare for the combination of factors which contributed to their demise, which are still debated today. One of the most commonly attributed reasons for their decline is the Spanish colonisation, which spanned many centuries. Apocalypto investigates this theory further, providing a snapshot of Mayan civilisation in its twilight.
The spotlight focuses on the plight of Jaguar Paw and his immediate family. Whilst on their daily hunt they encounter a local tribe drawn in a similar vein, bringing with them tales of impending invasion and capture. Choosing to ignore the warnings, Jaguar Paw and family return home, and in next to no time, find themselves to be the next victims of a violent uprising.
Jaguar Paw hides his pregnant wife and son in the nick of time (his quest to get back to them provides an overriding story arc), but finds himself isolated from them in the scenes which follow, as he is taken to the Mayan city; an agglomeration of evil, the stench of death and disease emanating off the screen. Human sacrifice becomes the order of the day, and a nauseating sadness inevitably accompanies subjecting one’s self to the epic torture scenes, as we briefly bond with one or two secondary characters, but only as a means of accentuating our sorrow at their visceral treatment at the hands of the Shaman-like leader.
The situation appears hopeless, but in a single moment of good fortune in amongst the tumultuous evil (a twisted scene in which Jaguar Paw and his remaining fellow captives are treated as human game), an opportunity of escape presents itself.
What follows for Jaguar Paw is a test of both endurance and guile, as Gibson turns up the heat in a series of pulsating chase scenes, which will have audiences casting their minds back to the archetypal hunter vs. hunted films of old. The dynamic between predator and prey is reversed in several set pieces, in which the chasing pack is subjected to Jaguar Paw’s expansive knowledge of the forest, via a plethora of jungle-inspired booby traps.
Meanwhile, his abandoned wife and son encounter their own complications, who find themselves at the mercy of nature and the elements, which may prove detrimental to the film’s intentions of an emotional reunion at its climax…
One of the things that will strike audiences is the distinct lack of dialogue from minute one. Perhaps the intention here is that the action scenes are allowed to dominate as a result, but there is also another direct result - we are never given an opportunity to understand the enemy. Motive is never made clear, and this helps us to develop disdain for the evil, and empathy with the protagonists.
We are kept guessing throughout, as characters the audience might expect to make the final reel are cast aside, and often in very gruesome ways. No cost is spared when it comes to gore factor, and the harrowing death scenes develop empathy with those left alive. It is also worth noting the lack of a limelight-stealing actor, as this gives the characters a vulnerable human edge.
The absence of A-list personnel within the cast may be as simple as cost-cutting, but one suspects this decision runs deeper. Think Tom Cruise in The Last Samurai, where the larger-than-life actor, though unquestionably popular, inadvertently steals the thunder from the teachings of a mysterious culture. Perhaps in the ilk of 300, in which Gerard Butler does justice to the lead role without detracting from the heroic nature of the narrative, Gibson adopts a subtler approach by electing the little-known Rudy Youngblood to play the central character, Jaguar Paw.
Gibson’s second foreign cinema effort takes a less controversial stance than his first, the both positively and negatively acclaimed The Passion Of The Christ, but packs a similarly raw punch. Apocalypto maintains a break-neck speed throughout, and as a result its running time (140 mins) feels much shorter. The gripping chase scenes, and the imaginative ways in which Jaguar Paw disposes of his assailants will linger most in the memory.
Mel Gibson may have proved to be his own worst enemy when it comes to earning the appreciation of the critical media, however, with Apocalypto he meticulously conjures a lost world the audience can identify with, namely in the timeless staples of human nature: pride, passion and, foremost, familial loyalty. MC
Film: Arn: The Knight Templar
Release date: 20th September 2010
Certificate: 15
Running time: 113 mins
Director: Peter Flinth
Starring: Joakim Nätterqvist, Sofia Helin, Stellan Skarsgård, Milind Soman, Simon Callow
Genre: Action/Adventure/Drama/Romance/War
Studio: High Fliers
Format: DVD & Blu-ray
Country: UK/Sweden/Denmark/Norway/Finland/Germany
Based on the first two volumes of Jan Guillou’s trilogy of novels, Arn: The Knight Templar is a grand epic atypical of contemporary Scandinavian cinema. Europe is stepping onto Hollywood’s playing field - how does it fare?
Arn Magnusson (Natterqvist) grows up in a monastery, where he is taught the ways of swordsmanship and archery by a former Knight Templar. A natural, he is pulled into the political jostling between his family and a clan that rivals them for the throne of the country that will one day become Sweden.
After being exposed as having had pre-marital relations with his fiancée Cecilia (Helin), Arn is punished by being sent off to fight in the Crusades with the Knights Templar; while Cecilia is sentenced to twenty years in a harsh convent.
On Crusade, Arn encounters the great Muslim warrior Saladin (Soman), in whom he sees a kindred spirit. This warrior’s bond with the Christians’ enemy unsettles the Knights around him, and casts a cloud of doubt over Arn’s fate.
Can the courageous Knight survive the Holy War, and return to rescue his beloved?
This is the most expensive motion picture of all-time in Scandinavia, and it shows. But while the scope is Hollywood-esque, the sensibility retains a welcome European flavour. The visuals may be grand, with every scene feeling genuinely epic, but Arn: The Knight Templar also offers a convincing depiction of medieval grime that lends it just as much authenticity as Ridley Scott’s two recent excursions to cinematic Middle Ages (Kingdom of Heaven, Robin Hood), without being as distractingly showy.
That is not to say that Danish director Flinth has offered a film that is ‘down and dirty’ or ‘grittily realistic’, as some viewers might expect of a film from the continent that is (mostly) subtitled. This is mass market, commercial filmmaking, telling a traditional, familiar story in widescreen, and with the sound turned way up. Every penny of the estimated $30 million budget is on the screen, and the level of this film’s sophistication makes one wonder where all the money goes on the glut of $100 million-plus efforts America churns out every summer.
Perhaps Hollywood can learn from this film’s production, in the way this film has clearly learned from American blockbusters of previous eras. For while it has an undeniably European tint, Arn: The Knight Templar feels distinctly ‘Hollywood’ in many ways - the lush cinematography, all wide lenses and careful composition; the script’s deliberate pacing and clear three-act structure; and the tame love scene accompanied by a sweeping orchestral score. Flinth thinks big and shoots big and, if the film from time to time unconsciously emulates the tics of ‘lesser’ commercial Hollywood (occasionally thin characterisation, plot signposting), this particular meshing of European and American sensibilities is most definitely a new and intriguing cinematic experience.
Story-wise, the film is a mixed bag. Well-shot, highly visceral action enlivens a plot that, while engrossing, does not offer much in the way of genuine surprise. This is only a problem in the film’s opening act - a flashback from its enthralling opening sequence, which establishes the respective fates of Arn and Cecilia. At around forty minutes, this flashback - which serves only to illustrate what the viewer has already figured out for themselves - is something of a patience-tester. But with the gorgeous visuals on show, and a cast on commanding form, the story soldiers through and comes to life once back in the ‘present day’. Indeed, the scenes of the Knights Templar debating their tactics delight with their ‘old-fashioned’ spirit and verve. Even better are the ‘head-to-head’ scenes with Arn and Saladin - kindred spirits bound by a code of honour both resolutely believe in. Natterqvist and Soman play these scenes utterly straight, but without obvious macho posturing - the effect is near-electric, and a viewer almost wishes the intervening scenes move quicker, to get to the next Arn-Saladin duologue.
Not all of the narrative moves as smoothly, however. Indeed, while the Crusades-scenes engross, the subplot featuring the plight of poor Cecilia, trapped in an abusive convent, is more predictable, and does not always sit comfortably with the grandeur of the battle-sequences. And there are persistent niggles - such as the near disappearance of the excellent Stellan Skarsgaard and Michael Nyqvist after the flashback sequence; or a sluggish middle twenty minutes where Arn’s primary motivation (to get back to Cecilia) sets him at odds with the war raging around him, the clash robbing the narrative of some momentum.
But, as with the best of ‘spectacle cinema’, the film rides out the rougher patches and consistently delivers solid, relatively undemanding entertainment that thrills and excites. It may well be that Europe gets the hang of blockbuster movie-making, and bigger and better ‘event’ movies follow this film. If it comes to pass, Arn: The Knight Templar deserves to be remembered and recognised as a big first stride towards that future.
A bit uneven, perhaps, but this is an ambitious and enthralling film - a glorious warning shot to American cinema that will hopefully be followed by more direct hits. Europe has stepped onto Hollywood’s playing field, and has scored. JN
