Orlando Bloom is out of the starting gate in his first starring/lead role as Balian, yet again a blacksmith (who convincingly hot shoes a horse)but this time in 12th century France. As the film opens, we learn that Balian is grieving the loss of both his wife and child, that his wife has committed suicide, and that the "village no longer wants you here". Strange counsel from one's parish priest, but perhaps folks in the middle ages were more superstitious about one so young having so much tragedy thrust upon him. Enter Godfrey of Ibelin, portrayed by Liam Neeson, who introduces himself as Balian's father. We watch Balian take this in as if swirling it in his mouth, tasting the idea, and feel that he is going to spit it out for the vinegar it seems to be to him. Not a line is said. But this whole concept is eminently portrayed by Bloom as if transmitted telepathically. I have not seen such acting since Spencer Tracey and Steve McQueen. Unfortunately, there isn't much time for father/son to interact, but there is enough. We see Balian decide to seize the opportunity for growth and responsibility that his father has offered. As the weight of responsibility and nobility is added to Balian's shoulders, he grows taller and straighter, steadier somehow. Balian makes his way to Messina, the port of departure for the Crusaders. The story follows that of a picaresque novel, in that the hero travels from adventure to adventure, situation to situation. Balian is shipwrecked and finds himself in the Holy Land. He rescues a black Friesian horse who escapes. He finds an oasis, and logically, his horse. This sets up an encounter with his first Muslim, Nasir. Nasir watches with respect as the young Balian's nobility grows as he reaches out to understand the strange culture that he is experiencing. A friendship and mutual appreciation is established that continues throughout the film. As Balian reaches Jerusalem and meets the Powers that Be--the Leper King and his sister--and the wannabes (her husband, Guy)--he becomes a chameleon, adapting sensible clothing for the blowing sand (neck and head scarves), melding into understanding the culture and people. Would that more folks would adopt this philosophy of life today versus taking umbrage for any reason and declaring war (the Templars and radical Muslims in the film). This is where the analogy to "Dances With Wolves" is tangible to me. A stranger in a foreign land, seeks to live as the natives, learn their culture and language, and in so doing, becomes a mix of cultures--a new being, neither of 12th century France nor of Jerusalem--but of mankind, understanding humanity. Balian resists the easy route to power and its temptations and decides to do what his dying father asked him to do--"Protect the people".
I found the soundtrack/Ibelin theme haunting and repeated listening reveals a richly interwoven tapestry of 12th century Christian sounds/choirs and period instruments alongside Eastern voices and instruments. Granted, scoring epic battle scenes is difficult, but the interposing of the choir vs. Eastern sounds seems appropriate. And the further the story goes, the more interposed/inseparable the two themes become...just as Balian's character is doing.
In an interview with Orlando Bloom, a writer commented that Bloom's character, "hardly speaks or merits any empathy in the first half of the film". I would disagree. I recently saw a short on Steve McQueen on Fox Channel and it revealed that McQueen often had lines stricken because he could SHOW the information without having to explicate it with words. I submit that Bloom eloquently conveys Balian's feelings upon meeting his father, Godfrey of Ibelin, without a word--yes--he SHOWS it. There is not a doubt what Balian thinks/feels at that point. And Bloom does this repeatedly throughout "Kingdom". Often he looks out at the desert, the nothingness of its sands, the wasteland, the waste--then he may turn his head down, or glance quickly towards the camera, or look away in resignation. But the need for conversation or a character's line is not necessary. This 28-year-old can act, folks! Interestingly, at the end of the same article, Bloom mentions McQueen's techniques. Hmmm. Stay tuned to this actor. What a treat! Another treat was the perfect casting of Ghassan Massoud as Saladin. He showed the Muslim point of view--dealing with the fanatical clerics as Balian was dealing with the fanatical Templars--yet respecting the fallen cross and replacing it after Jerusalem had been reconquered by the Muslims. Both Balian and Saladin regret the loss of life, deal with the dead, and in the end, reach terms for their peoples. Also a standout is the priest/knight medic/Hospitalier portrayed by David Thewlis, who counsels and guides Balian and watches him develop. Balian has grown from a blacksmith to a noble ambassador. He mingles with the common peasants on his father's lands and strides the corridors of power with kings and bishops. Quite a range. Thank you, Orlando Bloom, for caring and doing a darn good job. Your professionalism, talent, and ability show throughout this film--and you are not mere "eye candy". Rather, I would say, "food for thought". Keep up the good work, please. And thank you, Ridley Scott, for giving Orlando Bloom his first starring/lead role in a very major motion picture with themes/content critical to humanity today.
I found the soundtrack/Ibelin theme haunting and repeated listening reveals a richly interwoven tapestry of 12th century Christian sounds/choirs and period instruments alongside Eastern voices and instruments. Granted, scoring epic battle scenes is difficult, but the interposing of the choir vs. Eastern sounds seems appropriate. And the further the story goes, the more interposed/inseparable the two themes become...just as Balian's character is doing.
In an interview with Orlando Bloom, a writer commented that Bloom's character, "hardly speaks or merits any empathy in the first half of the film". I would disagree. I recently saw a short on Steve McQueen on Fox Channel and it revealed that McQueen often had lines stricken because he could SHOW the information without having to explicate it with words. I submit that Bloom eloquently conveys Balian's feelings upon meeting his father, Godfrey of Ibelin, without a word--yes--he SHOWS it. There is not a doubt what Balian thinks/feels at that point. And Bloom does this repeatedly throughout "Kingdom". Often he looks out at the desert, the nothingness of its sands, the wasteland, the waste--then he may turn his head down, or glance quickly towards the camera, or look away in resignation. But the need for conversation or a character's line is not necessary. This 28-year-old can act, folks! Interestingly, at the end of the same article, Bloom mentions McQueen's techniques. Hmmm. Stay tuned to this actor. What a treat! Another treat was the perfect casting of Ghassan Massoud as Saladin. He showed the Muslim point of view--dealing with the fanatical clerics as Balian was dealing with the fanatical Templars--yet respecting the fallen cross and replacing it after Jerusalem had been reconquered by the Muslims. Both Balian and Saladin regret the loss of life, deal with the dead, and in the end, reach terms for their peoples. Also a standout is the priest/knight medic/Hospitalier portrayed by David Thewlis, who counsels and guides Balian and watches him develop. Balian has grown from a blacksmith to a noble ambassador. He mingles with the common peasants on his father's lands and strides the corridors of power with kings and bishops. Quite a range. Thank you, Orlando Bloom, for caring and doing a darn good job. Your professionalism, talent, and ability show throughout this film--and you are not mere "eye candy". Rather, I would say, "food for thought". Keep up the good work, please. And thank you, Ridley Scott, for giving Orlando Bloom his first starring/lead role in a very major motion picture with themes/content critical to humanity today.