A fresh update on the Pocahontas legend. Captain John Smith (Colin Farrell) arrives in disgrace on the shores of the New World but he is pardoned and soon rises to lead the English settlers of what will eventually be Jamestown Virginia. Sent to trade with a local chief Powhatan he falls in love with his daughter Pocahontas (Q'Orianka Kilcher). He follows his duty rather than his heart and returns to Jamestown whose starving citizens would not have survived the harsh winter without Pocahontas’s help. Powhatan (Wes Studi) mounts an attack to force the settlers to leave but Pocahontas warns Smith leading to her banishment and her new life with the Europeans. Eventually Smith is called away to mount his own expeditions leaving Pocahontas behind with a heavy heart. She finds a new suitor a gentleman farmer who wants to marry her but she still pines for Smith. Her fame spreads far beyond the New World back to England where she is summoned to meet the king and queen. Farrell is finally delivering on his early promise momentarily setting aside noisy action films to work with a world-class director and reminding us just how subtle of an actor he can be. The amazing chemistry between Farrell and newcomer Kilcher puts nearly every other movie pairing this year to shame. Kilcher who had one screen credit to her name before this was only 14 during filming quite close to Pocahontas’ believed age of 12 or 13. Before you reach for that picket sign please note that while the romance is incredibly sensual as is the whole film nothing is shown other than longing looks and playful platonic embraces. As Pocahontas Kilcher radiates beauty and innocence and it’s easy to see why John Smith would be mesmerized by her. After Smith has left her scenes of grief are heartfelt and her later solemnity is remarkable for someone so young. I had no idea of her real age until I looked over the production notes. Christian Bale who only shows up in the last third of the film is wonderfully restrained and melancholy as the widower who woos her after her own loss. Terrence Malick has always been a very sensual director one who can capture nature so well that you feel you are in the film not just watching it. But his previous films such as The Thin Red Line often have a way of losing focus of missing the forest for the trees of throwing out the plot for yet another beautiful but pointless shot of the landscape. Here his narrative is strong enough that we aren’t impatient when the camera lingers on lush forests or a lovers’ embrace. He’s made the love triangle the backbone of the film and you don’t miss the larger picture here at all. The film is not only achingly beautiful but deeply felt. His sympathies are clearly with the “naturals ” as the Europeans call the Native Americans; it’s from their perspective that we first see the tall ships arrive. The Englishmen part from Smith for the most part are dirty cruel and petty and the less time the film spends with them the better. What Malick has made is most definitely still an art film with occasionally abstract or non-linear editing choices but one that is never just art for art’s sake.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
Don't expect too many happy moments in Beyond Borders. Even though it follows a rather tepid romance the movie is more a travelogue of third-world horrors than anything else. Separated into three time periods the film begins in 1984 when newly married socialite Sarah Jordan (Angelina Jolie) first sees renegade doctor Nick Callahan (Clive Owen) at a London event delivering a fiery plea on behalf of starving children in Ethiopia. His intense commitment stirs Sarah's soul--so much so that she drops everything to take food and supplies to the dusty drought-ridden area herself. In Ethiopia she meets the unorthodox doctor face to face and witnesses the determination that he and his non-governmental organization (NGO) in saving lives. Sarah and Nick make a connection but Nick is too involved in his work to act on it and she is married after all (sigh). Four years later Sarah's marriage has turned sour but she now has a son and a life's passion working for the United Nations refugee agency. When the opportunity arises to see Nick again Sarah travels to Cambodia at the height of country's bloody civil war with a shipment of medical supplies. Amidst life-threatening situations she and Nick consummate their feelings for one another at last. But alas Nick is aware his devotion to his work hampers his capacity for love and he leaves her again (heavy sigh). The final segment takes place five years later when Sarah sets out on a quest to rescue Nick who has been captured in war-torn Chechnya. Will Sarah be able to save him so they can finally be reunited? Remember there are no happy moments in this film.
After reading the script for Beyond Borders which was filmed in 2001 Angelina Jolie began her real-life UN efforts so in a way Jolie's fictional alter ego reflects the Oscar-winning actress' real life. As Sarah learns about third-world strife she decides to dedicate her life to helping others through the United Nations as did Jolie who became a Goodwill Ambassador to the United Nations High Commissioner for Refugees in 2001 a role she has extended for two more years. In Beyond Borders whether Sarah is nursing a child near death from starvation or standing up to a corrupt Cambodian general it's empowering to see Jolie the humanitarian pouring out her true feelings on screen. Owen (Gosford Park) does a more than believable job as the hard-bitten Nick who plays the character full of fury and grace as he is willing even to sell his soul to the devil--in this case a CIA operative who uses Nick to transport anything from secret documents to guns to the troubled areas in exchange for money to fund the NGO's efforts. Yet the film's main flaw lies in the lack of chemistry between Nick and Sarah. Nick is the smarter of the two--he knows his one true love is his work. Sarah is just too besotted to realize their affair--and her character arc--is doomed from the start.
Director Martin Campbell knows how to create spectacular vistas having directed such scenery-heavy films such as Vertical Limit and GoldenEye. From London's gray skies to Ethiopia's orange desert Cambodia's lush greenery to Chechnya's stark white winter Campbell's film is a visually stimulating treat. By far the most moving and alarming scenes take place in Ethiopia which was filmed on location in Africa's Namib desert. Seeing the emaciated (albeit mostly CGI) bodies of the dead and dying in the choking desert is enough to move anyone into humanitarian action. Be that as it may Borders should stop for a moment and give more history on the conflicts brewing in each beautiful yet troubled region--particularly by the time we get to Chechnya (actually Quebec). Rather than give any background on the region's raging civil war it simply shows bombed-out buildings and shooting in the streets and follows Sarah into the snowy woods on the search for Nick. While the other parts of Beyond Borders inspire your spirit this last part focuses solely on the love story and frankly it's just not as interesting