The Crusades were a series of religious wars in which the Christians tried to reclaim Jerusalem from the Muslims who had conquered the Middle East in the 7th century. With the battle cry of "God wills it! " thousands of Europeans answered the call and were able to retake the fabled Holy City in the 11th century. Kingdom of Heaven begins in 1186 between the Second and Third Crusades. A fragile peace prevails mostly through the efforts of Jerusalem's enlightened Christian king Baldwin IV (Edward Norton) and the military restraint of the legendary Muslim leader Saladin (Ghassan Massoud). But it's difficult to maintain the peace. There are extremists within the Christian brigades--known as the Knights Templar--who want to wipe every Muslim off the face of the Earth. On top of that King Baldwin's health is failing. Once he's gone war is sure to follow. If ever there was a need for a hero this is the time. Enter the young French blacksmith Balian (Orlando Bloom) who is in deep despair over the loss of his family. He joins the Crusades after the father he never knew Godfrey (Liam Neeson) comes back from Jerusalem and convinces him it's a quest worth fighting for. As Godfrey passes his sword to his son he also passes on that sacred knightly oath: to protect the helpless safeguard the peace and work toward harmony between religions and cultures so that a kingdom of heaven can flourish on earth. No pressure or anything though.
Orlando Bloom carries his first major motion picture very well easily handling the chores of being such a gallant conscientious and morally upstanding knight. As Balian the Troy costar plays the gamut. He broods over his lost wife and child has father-son epiphanies upholds his knightly duties on a regular basis falls in love with a beautiful but troubled princess and finally bravely defends the Holy City from the encroaching Muslim army thus becoming a legend. Not bad for a day's work eh? There are even times especially toward the end when Balian is standing before the denizens of Jerusalem urging them to fight when you swear you can see a little of Bloom's The Lord of the Rings alter-elf Legolas creep in. The supporting cast also does an adequate job painting a picture of some trying times. Chief among them: Jeremy Irons as King Baldwin's right-hand man Tiberias; Marton Csokas (The Bourne Supremacy) as the evil leader of the Knights Templar; Massoud as the great warrior Saladin; and lovely Eva Green (The Dreamers) as Princess Sibylla King Baldwin's sister who captures our hero's heart but makes some bad choices with dire consequences.
Even if these sword-and-armor epics are all blending together you've got to give props to the directors who make them. These films are massive undertakings and Kingdom of
Heaven with the expert Ridley Scott at the helm is no exception. The Oscar-winning director of course has had his fair share of recreating history first with the classic Gladiator and then with the contemporary Black Hawk Down. But in recreating the Crusades Scott faces his toughest challenge to date and takes on the responsibility very seriously. He is painstakingly meticulous with details even as he is building a 12th-century Jerusalem or corralling 2 000 heavily costumed extras for the colossal climactic battle sequences. And it is always a good thing when a historical film can teach you something you may not have known like what the heck the Crusades were really all about. No Kingdom's biggest obstacle is timing. While it certainly has more substance than Alexander it is not nearly as intense and stirring as The Lord of the Rings trilogy or the granddaddy of them all Braveheart. Too many of its ilk has come before and the concept has unfortunately worn thin.
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.