With the dismal failure of epics like “Alexander,” “King Arthur” and “The Alamo,” at this moment, historical films about battle-laden quests for goodness seem only suitable for the editing room rubbish pile. Director Ridley Scott, the mastermind behind “Gladiator,” the last truly appreciated heroic blockbuster, appears capable of reviving this lackluster genre. However, the formulaic “Kingdom of Heaven” is not exactly the right film for the task.
Set in the 12th century during the Third Crusade, the film portrays the battle for Jerusalem between Christians and Muslims. The plotline is based in part on actual events that occurred during the reign of Baldwin IV, the Latin king of Jerusalem. The film offers a compelling depiction of religious hypocrisy and refrains from vilifying or typecasting the Muslim adversaries. However, the central adventure of a common man who has lost his faith and must rediscover his inherent goodness falls short in the fundamental growth stage and offers no exciting deviations from the standard construction of a hero.
Balian (Orlando Bloom) is a young, grief-stricken blacksmith who becomes a knight-in-training after Baron Godfrey of Ibelin (Liam Neeson blending Priest Vallon from “Gangs of New York” and Qui-Gon Jinn from “Star Wars” into a paternal guide) claims him as his son. Bloom, with his honest face and amiable screen charisma, has no problem channeling the character’s inherent nobility, but he lacks the qualities of a leading man. In the film, Bloom essentially plays Will Turner from “Pirates of the Caribbean.” In that film, Bloom’s understated emotions worked well to ground Johnny Depp’s exuberance, but here, Bloom’s minimalist acting style makes Balian appear too passive and often allows other characters (particularly those played by more experienced actors like Jeremy Irons, Brendan Gleeson and David Thewlis) to overshadow him.
Standout performances belong to Edward Norton and Eva Green. Norton, as the masked, leprosy-afflicted King Baldwin IV, establishes his character with a gently toned voiceover that brings a natural aura of honor and tragedy to his spooky presence. Green is stunning as Balian’s love interest and Baldwin’s beautiful and exotic sister, Sybilla. With a mere glance, the ingenue from Bernardo Bertolucci’s “The Dreamers” manages to capture Sybilla’s sensuality, strength, intelligence, apprehension and melancholy.
Bloom cannot entirely be blamed for the flaws in his character. Scott seems so titillated by each progressively larger battle that he allows the plot to slide into a not-terribly-cohesive background. Balian’s stages of learning and his transition into piety occur so rapidly that it is not entirely clear when they take place or how they resonate with the character. One minute Godfrey is teaching Balian about the art of fighting, and in the next instant Balian — without any practice — turns into a brilliant battle strategist.
The battle scenes are the most exciting parts of the film. They are urgent: The camera zooms from the expansive landscape of mounting carnage to medium shots of grotesque injuries, and the shifting pace from swift attacks to slow-motion tragic downfalls adds intensity and tension. Cinematographer John Mathieson floods the screen with vast, blue-tinted, picturesque settings both beautiful and haunting, reflecting the dual nature of the devout but brutally violent society. Yet, after the release of Peter Jackson’s “Lord of the Rings” trilogy, these elements are not as engaging and stirring to the imagination.
As an action-packed epic, “Kingdom of Heaven” is not a bad film; it manages to capture a specific moment in history, and, under Scott’s experienced care, it remains technically superb. However, as a study in character, it lacks in depth and excitement.
