Film Review: Kingdom of Heaven

A Kingdom in War and Religion
By Rianne Hill Soriano

Ridley Scott makes another epic streamlined in the middle of the conflicting religious beliefs of the Christians and the Muslims. “A fiction inspired by historical accounts,” Kingdom of
Heavenrenders a cinematic story of the Crusades of the 12th Century.

Balian (Orlando Bloom), the young, grieving blacksmith from a small village in France, finally yields to the invitation of his estranged father, Baron Godfrey of Ibelin (Liam Neeson), to go to the Holy Land of Jerusalem. With the hope of relieving his and his dead wife’s sins, he finally convinces himself to lead the way towards salvation there so that his wife may go to heaven after committing suicide. As heir to his father, Balian rises to protect his people from the Muslim invaders. From a blacksmith on a soul-searching journey, he becomes a defender of
Jerusalem– with the guiding legacy and ideals of his father of promoting peace and getting hold of the kingdom of heaven.

The visuals starts with vast coldness, but as Balian reaches Jerusalem, lives a new life as a knight, and becomes the leader of his people, the richness in color and texture starts complementing the film’s moods of change, the exposition of characters and the progress of the story. Scott’s treatment, using combinations of panoramic and close-ups shots, some jarring cam movements, blade and arrows flying in mid air as they meet those blood squirts/snow during fight scenes, and smoke effects, are playful shots in the effective places. Though situated in an epoch of staged battles and slow-motion shots, it has not been as remote and distant as the locales it depicts, as the juxtaposition of the shots provides intimacy in its proper dwelling. The characterization is given some emotional investment through the tight shots. The confrontation scenes get the audience nearer the characters and see their reactions through close-up shots. The intimacy on the shots is further uplifted with the fight scenes seizing moments for each dying man. Overall, the shots promote not just the opportunity for sheer grandeur and lush cinematography of another period film, not just the stylistic gore of hand to hand and sword combat, but the human side as well – as the shots give time for the reactions of the characters for the audience to digest their emotions. I have found the treatment considerably commendable as the around 2 ½ hour film has not been a drag.

The play of sound seems to peg its music from its epic film counterparts as Alexander,
Troyand most of all, LOTR. But giving the film its own space of separation from them, the gorgeous orchestral soundtrack makes the battle scenes infinitely more ‘watchable.’ The score has a ‘pitch-effective’ grasp for the filmed battles ideal for the big screen. Mostly, the music, a combination of Christian and Muslim-inspired instruments renders nice timing in par with the visual and emotional requirements.

“Sometimes, you should have done the lesser evil to do greater good.” This is the thought of a striking dialogue between Sibylla (Eva Green) and Balian during the time of decision-making: whether he marries her after killing her wicked and arrogant husband, Guy de Lusignan (Marton Csokas), who becomes heir to the throne after the leprosy-stricken King Baldwin (Edward Norton) dies. The idea of doing one evil that can be worth a million good gives some conflicting ideas to rattle the imaginative minds of the audience, especially in a Christian world were murder is absolutely a sin.

The relationship between Balian and Sybilla is one of the film's weaker points. It has been developed in an uneven manner. It is like as if it started out as a given aspect on the main storyline, but during the latter part of the film, the issue is precariously injected without concern by putting Sybilla as cutaway shots to the battles without the useful sway. Not enough significance has been strengthened on the story from then on, only the make-up and beautiful features of Eva Green.

Only Edward Norton’s sensitive portrayal as the King of Jerusalem who suffers from leprosy brings a deep in the heart acting though he wears a mask the entire time. Overall, with Liam Neeson and the rest of the ensemble supporting Bloom, the film gives out a good time in the theater. However, Bloom’s acting is not consistently effective. At times, he becomes quite two-dimensional, and he doesn’t leave that Legolas mode of speaking. He sometimes recites as though he were in an acting class giving a monologue and his performance lacks some dramatic breadth. At this point in his early career, he needs more diversity, but once he gets hold of his weaknesses as an actor, he can gain that presence for good roles. But on a lighter note, one very noticeable thing: he gained some good pounds during the filming of this movie.

Production design, cinematography, sound design, splendid. Even with those flaws exposed,
Kingdom of Heaven remains such an enjoyable experience. Both the confrontational, intimate scenes and the battle scenes are handled effectively. One good thing about the film is it never loses focus. It concentrates on Balian, and Scott never completely fails the audience with him though he didn’t deliver like Russel Crowe in Gladiator. It’s quite a disappointment though, on how Sybilla has been forced such presence on the latter part of the film as if she is a useless garnishing on a delectable plate. It could have even worked without her.

The issue between the conflicting religious beliefs of the Christians and the Muslims, played around in the story with respect and ideals in good faith, has made a mark of its own. Though situated centuries ago, our contemporary times can relate to it, and the idea of the “kingdom of heaven” can, in one way or another, be a thought to ponder for everyone – urging for peace in a global scope.

In terms of action-adventure, be entertained. It runs nearly 2 1/2 hours, but the pacing does not seem to be that long. If you put your tastes more on the ultimate cinematic luxury, you’re in for an entertaining ride. It is indeed a very fictitious tale based from history, and yet its use for its dramatic/cinematic license proves valid and enjoyable. With all these, I shall rate it 4.4 out of 5.