Between work, casework, Council meetings and campaigning, Em and I like to pretend that we can do normal things.
Occasionally, this means doing something wild like going to the cinema at Bas Vegas (yes, there is a place – and to prove it, Jedward came). We benefit in Basildon from a luxury 12 screen Empire multiplex and so last night we decided to be very wild indeed and see two films back-to-back.
Both depict a battle between good and evil.
Both have their main protagonists wrestling with their conscience, searching for a very personal salvation.
Both are daring in their use of Christian symbolism.
Solomon Kane is one of the lesser known creations from the pen of Robert E. Howard, the pulp-era writer who created Conan the Barbarian, and first appeared in magazine stories in the late 1920s. In the 1970s and 1980s he appeared in several comics published by Marvel Comics and in 2008 Dark Horse Comics began a new run of Solomon Kane comics. How on earth he has escaped Hollywood until now is completely beyond me:In Kane, Howard has the perfect anti-hero, a black-clad, sword-wielding soldier of God, attempting to atone for his murderous past and redeem his soul from the pact with the Devil that his past has created.
I’d not read the Howard original, nor seen any of the comics, and you can well imagine there is plenty of scope for movie-going pain in adapting a fantasy story for cinema. Cringe-worthy efforts that briefly topped my “Oh wow that is just the greatest film ever!” list during those teenage years of hormonally-challenged fantasy addiction include The Sword and the Sorcerer and Hawk the Slayer. (I have absolutely no idea how The Sword and the Sorcerer scored 80% on Rotten Tomatoes – it stars Lee Horsley, that bloke from Matt Houston, and is utter tripe!).
Solomon Kane is nothing like that.
Instead, in an England where it is either permanently raining or snowing, James Purefoy, turns in a brilliant performance as the brooding Kane, taking on the role of an avenging angel when the family who rescue him from brigands is ripped apart by Malachi’s evil henchmen. If you are unconcerned about spoilers, you can read the synopsis here.
Once again, the Czech Republic doubles as 17 Century England and if you have missed The Prancing Pony since it vanished from our screens, then you’ll be reassured that Solomon Kane pays due respect to the role of beery, shadow taverns in the fantasy genre with one brief shot that could almost be an homage to the appearance of Aragorn in Jackson’s Lord of the Rings trilogy. (I don’t ever remember GMing a Warhammer Fantasy Roleplay without a tavern – perhaps Stringbean will remember if he looks at this – and certainly inns and taverns are to be found dotted throughout Norrath, in both its Everquest and Everquest 2 incarnations). There is plenty of ferocious sword play, a reassuring absence of naked slave girls (you know the storyline has gone to pot when the producers rely on this device for a distraction) and titanic battles between good and evil.
It is interesting, too, to find a main-stream film so willing to display an overtly Christian symbology, even if some of its theology is distinctly shaky. Perhaps religion is the new rebellion in movie-making? In which case, expect lots more of Kane’s ilk in the months to come.
So Darin, if you are reading this, Solomon Kane is one for you and me – when we want to exorcise our darker sides and pretend we are sword-swinging avengers of Truth! In the meantime, just enjoy a well-made sword-and-sorcery romp which really does get your heart fluttering.
You could not get a more opposite film to Solomon Kane than Precious. Looking at its stellar cast list, including Mariah Carey and Lenny Kravitz, and the sheer star-power of its executive production team (it includes Oprah Winfrey), it is difficult to believe that when this film premiered at the 2009 Sundance Film Festival it had no distributor.
You should know from the outset that Precious is not an easy film to watch. Its themes of deprivation, abuse and hopelessness are shockingly realised in a grainy, realist style that strangely had me thinking of Taxi Driver in the way it suddenly exploded with rage and emotion.
Precious follows the story of an obese, illiterate 16-yr-old called Claireece Precious Jones, about to be a mother for a second time – impregnated for the second time by her own father. Living in Harlem with her abusive, repulsive mother, and suspended from school, Claireece grasps an alternative education opportunity to escape the circle of despair that is her life experience to date – and the experience of all those in her life to date. The film is unabashed in its determination to demonstrate the power of education as a tool for overcoming poverty and serves as a sombre reminder to those of us who take reading, writing and blogging for granted that there are millions even in prosperous Western countries who struggle to make sense of notices and signs, let alone comics and magazines.
But Precious stands out for one thing in particular.
Gabourey Sidibe, as Precious, gives one of the most astonishing performances I have ever seen on film. Bearing in mind that this is her début feature, I am not sure I have ever seen an actress more capable at conveying an appreciation of her circumstances. In a performance that juxtaposes the steely indifference necessary to survive her daily humiliations with the colourful energy and radiance in the fantasy sequences that Precious clings to, Sidibe is broken, proud, humble and funny. From the culinary horror of deep-fried pig feet which her mother forces her to eat, to the friendships she tentatively forges with other broken women in her special classes, to her glamorously spinning and glittering like Aretha Franklin, she mesmerises in the way she captures the duality of life lived and life dreamed.
In one moving sequence, she gazes in on a neon-lit church and the worship team rehearsing. She imagines herself singing and dancing with the others, her face alight with a sense of belonging, before realising that even the Church, with its messages of hope and invitation, is beyond her reach.
It is hard stuff. But worth every penny.
Born of Hope
And finally… For all you hard-bitten cynics out there, I am going to give you another chance to click through to watch Born of Hope.
Get over the weirdness of watching a movie on YouTube.
Get over the fact that it’s British.
Get over the fact that it’s made in Epping Forest and that the same woman stars, directs, produces, makes the costumes, runs the budgets, makes the tea and biscuits etc.
If you are a fan of the fantasy genre and you don’t watch Born of Hope you are missing a chance to watch something truly special: a fan-made film that should embarrass the producers of the likes of the “Sword and the Sorcerer” and “Hawk the Slayer” with its ability to transcend the limitations of budget, set and location. “Born of Hope” is a very worthy addition to the fantasy film genre.
I know some of you out there simply don’t believe me, or think that video on the internet is only for posting japes and the antics of exhibitionists. So go on… Be a little wild on a wet Sunday afternoon!
“How on earth he has escaped Hollywood until now is completely beyond me:In Kane, Howard has the perfect anti-hero, a black-clad, sword-wielding soldier of God, attempting to atone for his murderous past and redeem his soul from the pact with the Devil that his past has created.”
Well, part of that reason would be Howard’s Kane is nothing of the sort. He’s a black-clad, sword-wielding soldier of God, sure, but that stuff about “atoning for his past” and “redeeming his soul” and being an antihero is an invention of the filmmakers.