Visual intensity lacks strong emotion

Anyone who saw “Gladiator” will recognize director Ridley Scott’s

intense visual style in his latest film, “Kingdom of Heaven.”

Like that Oscar-winning epic, this fictionalized story about the

Crusades wows the eye, only this time, it doesn’t quite succeed at

thrilling the heart and mind. And in spite of an excellent cast, star

Orlando Bloom doesn’t have the charisma or depth of Russell Crowe.

Set in the late 12th century, the film begins when young French

blacksmith Balian (Bloom) meets famed knight Godfrey (Liam Neeson),

who’s traveled expressly to introduce himself as Balian’s father and

ask him to join him in Jerusalem. Balian is ultimately intrigued,

hoping to find his own personal redemption in the Holy City.

Before you know it, Balian has survived an ambush, a shipwreck, a

duel and several battles in righteous slow motion, dallied with the

lovely Sibylla, and obtained the favor of her brother King Baldwin

(no relation to Alec, Daniel or Adam). The king entrusts the safety

of Jerusalem and its people to Balian, and it looks like it will be a

battle to the last man standing.

Whew! I would be exhausted, but Balian still looks as fresh and

lively as his chain mail garments.

The film’s most impressive acting comes from Ghassan Massoud as

Saladin, the mighty leader of the Muslim people, and an uncredited

Edward Norton as King Baldwin, a thoughtful ruler wasting away from

leprosy who never removes his silver mask.

The photography, costumes, and art direction are first rate and

done by the same team who worked with Scott on “Gladiator.” The

battle scenes are brutal and bloody, as we’ve come to expect from

this genre.

Writer William Monahan has given this film an interesting point of

view, especially given the current cultural and political situation

in the world today. “Kingdom of Heaven” sides neither with Christians

nor Muslims, but with humanity.

Its message is a hopeful one of respect and peaceful coexistence,

and warns about wars that “start in the name of religion but end up

as battles over land and power.” Perhaps the movie is too thoughtful

-- it lacks a satisfyingly evil villain or an overzealous warlord.

In one of the final moments, Balian asks Saladin what Jerusalem is

worth.

“Nothing,” he replies, before smiling and adding, “Everything.”

* SUSANNE PEREZ lives in Costa Mesa and is an executive assistant

for a financial services company.

DON’T BE SURPRISED BY ‘CRASH’ AT OSCAR TIME

Paul Haggis wrote the dynamic screenplay for last year’s Oscar

winner for best picture, “Million Dollar Baby.” That film focused

intently on the lives of just three main characters.

In “Crash,” Haggis moves into much more complex territory. With

razor sharp observations, he uncovers the racial attitudes of dozens

of Los Angeles residents who cross all lines of color, ethnicity and

income.

The ensemble actors seem like stereotypes at first, as they

express their understandable yet politically incorrect thoughts about

those from other cultures. But the story and its varied characters

move into ever more subtle territory as we come to understand the

inner workings of their minds and relationships.

This evolving human insight is the heart of this film’s appeal.

The haunting music serves to underscore the intricate emotions that

simmer beneath everything we see on screen.

Matt Dillon is superb as the tough racist cop made vulnerable by

his helpless father’s illness. Don Cheadle and Sandra Bullock are

equally outstanding as they approach the evolving plot from opposite

ends of the spectrum. Several unknown actors add depth and clarity to

small but very important roles.

“Crash” is a first-rate adult drama that poses more interesting

questions than it can possibly answer. It’s one of those rare films

that will have viewers talking about its meaning long after the

lights go on. It will surely be heard from at Oscar time.

* JOHN DEPKO is a Costa Mesa resident and a senior investigator

for the Orange County public defender’s office.