Array of British talent makes Solomon Kane quite a treat, writes Debbie Lyn Elias
In true geekified graphic novel/comic book loving fashion, Solomon Kane is an E-ticket ride of fantasy and thrills that starts with a mesmerizing and striking visual palette carefully punctuated saturization of color, and then tosses in the hunky British actor James Purefoy as Kane himself.
Opening in theatres this week, it’s mystifying how this movie could have been on a shelf for the past three years. I can only attribute the delay to some of the effects, which at times appear slightly dated, but are still appropriate and effective for the material.
Solomon Kane is not like any seafaring military man you’ve ever met. A captain for the British Army, we meet Kane while leading raids and military campaigns in 16th century Africa. With a real zeal for killing, Kane and his men are the best at what they do – perhaps even too good – as it leads them to an enemy unlike any they’ve ever faced – The Devil’s Reaper. And as it happens, the Reaper wants Kane’s soul.
Not ready to part with his soul just yet, Kane escapes the Reaper, ready to turn over a new leaf, take stock in his life and make a drastic change so as to do good and not kill. Taking refuge in a monastery, Kane gives up his violent ways but after years of penance, is forced to leave. Seems he’s got some unfinished business in his past. As it turns out, Kane comes from royalty and wealth, but after a falling out with his father left home and struck out on his own. If he is ever to find true contentment, it’s time to bury the hatchet, not to mention reclaim his legacy and wealth.
A lone weary traveler, Kane meets up the Crowthorn family (headed by the late, lamented Pete Postlethwaite) who take him in, feed him and provide shelter as they make their own way across desolate – but violent – lands. And of course, while Kane may have denounced violence, it doesn’t mean that violence won’t find him, as it does when he and the Crowthorns are attacked by a “new world order” led by the demonic Malachi (Jason Flemyng). With much of the family slain and their daughter Meredith taken captive, Kane must now re-evaluate his course in life and risk losing his soul to the Reaper as he attempts to save Meredith. But Fate has much worse things in store for Kane than just losing his soul.
The performances here are strong and at times, over-the-top, (especially Jason Flemyng), but this intensity is what makes the movie work. Embodying the physicality and emotional duality of Solomon Kane, Purefoy, perhaps best known to American audiences as Mark Anthony in HBO’s Rome, is an easy sell as a brooding, angry and conflicted champion. Never reaching for excess with the character of Kane, Purefoy remains grounded, human, a man’s man and a man to make women swoon. He even brings a sense of humility to Kane which shines during dialogue exchanges at the monastery set against a backdrop of pure, untouched snow. As the kidnapped innocent, Meredith, Rachel Hurd-Wood just smolders when put together with Purefoy’s Kane. Cautious and curious, Hurd-Wood’s wide-eyed innocence draws you into the film, much as Meredith draws Kane.
As Crowthorn, Pete Postlethwaite brings the necessary morality and sense of purpose to the film and he milks his death scene for all it’s worth. And expect a heart-wrenching performance from Max von Sydow as Josiah Kane, Solomon’s estranged father.
Written and directed by Michael J. Bassett based on Robert E. Howard’s characters, Solomon Kane is slick, sleek and polished. The sword fights and battles are not only superbly executed, but then flawlessly lensed and edited.
On the shelf no more, the lesson to be learned Solomon Kane is that sometimes studios and distributors (and audiences) need to take that leap of faith. They might be more than pleasantly surprised, as is the case here. Solomon Kane seduces with stunning visuals, sweeping swordplay and one sexy leading man.
Solomon Kane. Starring James Purefoy, Jason Flemyng, Pete Postlethwaite and Max von Sydow.
Written and Directed by Michael J. Bassett based on character(s) by Robert E. Howard. Running time: 104 minutes. Rated: R
