Cinema Experts

“I have given Jerusalem my whole life. First, I thought we were fighting for God. Then I realized we were fighting for wealth and land. I was ashamed...”
In 1935, Cecil B. DeMille made his famous epic "The Crusades" on one of the backlots of Hollywood. What a change in the Ridley Scott film "Kingdom of Heaven" of 2005 with the technical wizardry of a new era!
In "Kingdom of Heaven", wars and battles are fuelled by an assortment of motivations including land, money, political consideration, natural desire for violence, lust for fame, love of the common people, among others. Even more importantly, this "idea" thing does not prevent leaders from practicing tolerance, reaching compromises and even recognizing equality with alien faiths, as the movie tries to show us.
Recognizing that this movie is a mix of historical fact and dramatized fiction, let me focus on one rather unusual aspect of the hero Balian (Orlando Bloom), a blacksmith inheriting knighthood and an estate from a father appearing out of the blues. As Balian takes over the barren desert estate after the untimely death of the recently-discovered father, he does something that the father apparently has failed to do in all these years – dig into the earth to find a reliable source of water and proceed to make the estate productive. Later, the resilient defence of Jerusalem owes just as much to Balian's knowledge of practical laws of mechanics as to his military skills. In the end, he turns away from the inherited knighthood and goes back to be a blacksmith, taking with him a queen. Triumph of the working class...
Depiction of the arch adversary Saladin follows very much the line taken in the novels of Sir Walter Scott, particularly "The Talisman", as someone mysterious (to the extent of being almost omnipresent - in the novel) but wise and benevolent, a breed of political leader that is sadly in short supply today. The hero Balian, as mentioned, has little interest in divinity and every interest in the welfare of the people. These two leaders, put in today's context, could qualify "Kingdom of Heaven" for a fairy tale.
It's difficult to refrain from comparing the attack of Jerusalem with the attack of Minas Tirith, and this very comparison can be construed as an unreserved compliment on Kingdom of Heaven. Another comparison that can be made is the depiction of a mighty army, done so unimaginatively in two similar movies last year. In Kingdom of Heaven, we see first a solitary figure on horseback at a distant mountain gap. "Saladin's army of 200 thousand is here" says Balian. "There's only one person", comes the reply from a follower. "No, they're all here" Balian quietly responses, at which point the angle of the camera starts to rise, first revealing the patch behind the mountain gap, filled with soldiers. Then, as the horizon of our vision continues to extend, layers of mountains and vales continue to appear, together with Saladin's mighty army deployed in an apparently haphazard, but ultimately strategic fashion. This must be seen to appreciate.
Of the cast, I must first mention Edward Norton. As the leper king of Jerusalem, he appears all the time behind a mask which covers his entire face, showing only his eyes with disfigured corners. But it's the voice that is so mesmerizing. Ever since Fight Club, Norton's voice has such a timbre that soft as he sounds, there are lurking behind tantalizing hints of subtlety, intrigue, compassion, power, and twenty other different and conflicting emotions all at once.
Bloom grows into his role, starting rather expressionless (which may not be totally unreasonable considering that the character has just lost a wife and a child) but gradually gaining in confidence. Liam Neeson and Jeremy Irons, playing father and mentor respectively, do not exactly have the most challenging parts in their careers. Eva Green retains the girlish defiance in The Dreamer, but adds to it the maturity and allure required for the role of Sibylla (as portrayed by the script, but not necessarily as recorded in history). And there is good old Brendan Gleeson, in the customary role of big bully fighter which he has perfected in Gangs of New York and Troy. It is clear no one owned Jerusalem in the Middle Ages, and no one owns it now, Palestinian protests notwithstanding. For a history lesson with modern relevances, see this epic… 8/10

“Anyway, I'm never satisfied. I think were I ever satisfied with my work, I'd be in trouble.”
Irons was born in Cowes, Isle of Wight to Paul Dugan Irons, an accountant, and Barbara Anne Brereton Brymer Sharpe, a homemaker. He was educated at Sherborne School in Dorset, (c. 1962-1966). He achieved some fame as the drummer and harmonica player (most memorably for his rendition of "Moon River" on harmonica) in a four-man school band called the Four Pillars of Wisdom. They performed, in a classroom normally used as a physics lab, for the entertainment of boys compulsorily exiled from their houses for two hours on Sunday afternoons. He was also known within Abbey House as half of a comic duo performing skits on Halloween and at end-of-term House Suppers.
Irons trained as an actor at the Bristol Old Vic Theatre School and is now president of its fundraising appeal. He performed a number of plays and supported himself by busking on the streets of Bristol, before appearing on the London stage as John the Baptist opposite David Essex in Godspell. After several appearances on British television, including the children's television series Playaway, and an adaptation of the H.E. Bates novel Love for Lydia in 1977, his film debut came in 1980 in Nijinsky. The role which brought him fame was that of Charles Ryder in the television adaptation of Evelyn Waugh's Brideshead Revisited in 1981. Brideshead reunited him with Anthony Andrews, with whom he had appeared in The Pallisers seven years earlier. Also in 1981, he starred in the film The French Lieutenant's Woman opposite Meryl Streep.
In 1985, Irons directed a music video for Carly Simon and her heavily promoted single, "Tired of Being Blonde". Although the song was not a hit, the video - featuring the fast cutting, parallel narratives and heavy use of stylized visual effects that were a staple of pop videos at the time - received ample attention on MTV and other outlets. Irons has contributed to other musical performances, recording William Walton's Façade with Dame Peggy Ashcroft, and the songs from My Fair Lady with Dame Kiri Te Kanawa. He is also known for playing the evil wizard Profion, along with Bruce Payne as Damodor, in the 2000 film, Dungeons and Dragons, from Time Warner studio New Line Cinema. The film was also based on the Tabletop role-playing game, Dungeons and Dragons.
In 1984 Irons won a Tony Award for his Broadway performance opposite Glenn Close in The Real Thing. He appeared sporadically in films during the 1980s, including the Cannes Palme d'Or winner The Mission in 1986, and in the dual role of twin physicians in David Cronenberg's Dead Ringers in 1988. Other films include Reversal of Fortune (1990), for which he won the Academy Award for Best Actor, Kafka (1991), Damage (1993), The House of the Spirits (1993) appearing again with Glenn Close and Meryl Streep, Die Hard With a Vengeance (1995), Bernardo Bertolucci's Stealing Beauty (1996), the 1997 remake of Lolita and as the musketeer Aramis opposite Leonardo DiCaprio in the 1998 film version of The Man in the Iron Mask (1998). In 2004, Irons played Severus Snape in Comic Relief's Harry Potter parody, "Harry Potter and the Secret Chamberpot of Azerbaijan". He has co-starred with John Malkovich in two movies; The Man in the Iron Mask (1998) and Eragon (2006), though they did not have any scenes together in Eragon. Irons read the audio book recording of Paulo Coelho's The Alchemist.
One of his best known film roles has turned out to be the voice of Scar in The Lion King (1994). Irons has since provided voiceovers for two Disney World attractions. He narrated the Spaceship Earth ride, housed in the large geodesic globe at Epcot, and voiced H.G. Wells in the English version of the former Disney attraction The Timekeeper. In 2005, he appeared in the films Casanova opposite Heath Ledger, and Ridley Scott's Kingdom of Heaven. Also in 2005, Irons won both an Emmy award and a Golden Globe award for his supporting role in the TV mini-series, Elizabeth I. He is appearing on the West End stage in the play Embers.Irons was one of the participants in the third series of their documentary series Who Do You Think You Are?. He also played the storyteller Brom in the 2006 film version of Eragon. He will be the narrator for Val Kilmer and Bill Pullman's brand-new Lewis and Clark movie from Revolution Studios.

“She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Light of my life, fire of my loins. My sin, my soul. Lo... Lee... Ta.”
This is an excellent adaptation of Vladimir Nabokov's brilliant book about the sordid relationship between a grown man and a teenage girl. Although still disconcerting, the subject of pedophilia is far less shocking today than when the book was published almost 50 years ago. Yet, despite the subject matter, the book was wildly popular because it was a literary work of art, beautifully written with some of the most splendid metaphors and descriptive narrative in American literature. This was all the more amazing when one considers that English was Nabokov's second language.
Director Adrian Lynn (Fatal Attraction, 9 ½ weeks, Indecent Proposal) is no stranger to stories with perverse sexual content. His presentation of the story does the book justice although certain interpretations may not have been what Nabokov had in mind. Lynn gives us a presentation that is very sympathetic to Humbert. Nabokov's Humbert was very complex, partly a victim of his fixation on young girls, partly a sexual predator and partly a hopeless romantic. Nabokov's Lolita was extremely innocent, just approaching the threshold of sexual curiosity and urges, more playful than consciously provocative.
While Nabokov hints at a mutual seduction, he leans far more heavily towards Humbert as the cause of the events even though Humbert is clearly helpless in the face of his obsession. Lolita entered into the sexual relationship more as a result of longings burgeoning from her blossoming sexuality than a desire to seduce Humbert in particular, who was not even her first lover.
Lynn's presentation transforms Humbert from the seducer into the seduced, whose weakness for young girls is manipulated by a sexually precocious siren tempting him to dash himself on the shoals of pedophilia. Lynn portrays Lolita as the aggressor, an adolescent temptress who knows she is desired and simultaneously teases and entices him to do her lustful bidding, knowing he is powerless to resist. Lynn's Humbert is more of a hapless romantic than a fiend, ennobling him as a victim of love rather than the confounded sociopath he really is. In Lynn's version, Humbert becomes the fly to Lolita's spider.
However, after the initial seduction when they take to the road, the film is very true to the book in chronicling the decay of the relationship, Humbert's further plunge into feelings of romantic desperation and Lolita's shrewish exploitation of him as she increasingly uses sex as a weapon. The book was very effective at portraying the relationship as a symbiosis of two deficient beings, each selfishly taking from the other what was needed. Lynn does an excellent job of portraying that here. As the relationship degenerates, Lynn is effectual at portraying the ugly side of both characters. The bitterness and rancor that results is compelling. To his credit, he understands that Nabokov's story was more of a character study than a sex story and Lynn avoids the temptation of becoming too lurid, focusing instead on solid character development of two very flawed beings.
I must take a moment to give Lynn the highest praise for his period renderings. This is one of the finest portrayals of 1940's Americana I can remember. The costumes, hairstyles, cars, furniture, locations and sets create a 40's reality that is like being hurtled back in a time machine. The music is not just precise for the period, but it is perfectly integrated with the story. As the two travel, the music changes to reflect the region. Having Lolita dance and sing to period music on the radio is a nice touch because that is exactly what teenage girls of any era are apt to do.
The acting is first rate all around. When the film was made, Dominique Swain was 17, and although she looked young for her age, she could never pass for 12. So for the first part of the film before Charlotte's demise, she is simply too mature. However, for the road trip she is ideal. Though I don't agree with Lynn's early interpretation of Lolita as the teenage temptress, I can't imagine it being done any better than the performance Swain delivers. She is playful and provocative in a childlike manner, part pixie and part vamp. Once they get on the road, Swain hits stride with a performance that is almost a force of nature. She is powerful and intense, effortlessly moving back and forth between sweet innocence and the emotional torrent typified by the `murder me' scene. It is an outstanding performance with depth and breadth that is very unusual for an actor so young.
Jeremy Irons is wonderful as Humbert, giving him as amiable a personality as one could possibly imagine for a character with such vile intentions. Irons injects a good deal of wry humor into the part in addition to giving Humbert an almost quixotic romantic quality. Frank Langella (Dracula) is more obnoxious than mysterious as Quilty, making the audience want to exhort Humbert to pull the trigger as he confronts Quilty with the revolver. Again, I think this is probably Lynn's doing since his vision is clearly that of a Humbert sympathizer.
This is a fine film with great production values, terrific performances and a classic story. I feel that it surpasses Kubrik's adaptation in its ability to capture many of the finer points of Nabokov's book, even though Nabokov collaborated on the Kubrik film… 9/10