Page 26 THE VILLADOM TIMES II, III & IV • June 9, 2010
‘Prince of Persia’ incorporates action, engaging story
by Dennis Seuling When movies are based on video games, this reviewer approaches them with a fair share of cynicism. Is this merely an attempt to milk box office dollars from a brand name, or is it actually a picture that can stand on its own? The 1989 video game “Prince of Persia” set a new standard for realistic movement through rotoscoping and the use of sword fights rather than projectile weapons, which were the norm at the time. “Prince of Persia: The Sands of Time” incorporates plenty of chases, jumping from high places, battles, and one-on-one combat, but also has a good story to accompany the dazzling visuals. In a prologue, the royal entourage is shown heading
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through the streets as a young street urchin, Dastan (William Foster), performs an act of selfless courage. The king (Ronald Pickup) is so impressed with the boy that he takes him in and raises him as one of his own sons. Ten years later, Dastan (Jake Gyllenhaal) has earned his place as a fearless warrior and prince. Responding to intelligence that the Holy City of Alamut has been supplying weapons to the enemies of Persia, Dastan’s brothers (Richard Coyle, Toby Kebbell) plan an attack, the city falls to the invading Persians, and Dastan encounters the beautiful Princess Tamina (Gemma Arterton). When the king dies mysteriously, however, Dastan is accused of the murder and flees with the princess, who knows the secret of a magical dagger that can change the course of history. Like a video game, their escape leads Dastan and the Princess from one adventure to the next. Some witty rep-
artee is sandwiched between action episodes. Though far from a movie classic, “Prince of Persia: The Sands of Time” is a fast-paced romp that knows action alone cannot sustain a two-hour running time. During their escape from their pursuers, Dastan and the princess encounter Sheik Amar (Alfred Molina), a tax-hating fellow who runs ostrich races. Molina is larger than life, which is fine in a movie in which mayhem of one kind or another occurs periodically. He adds a touch of humor and definitely enlivens the proceedings. Also on hand is Ben Kingsley as the king’s brother Nizam, who lurks in the background of many scenes silently observing in a way that can be interpreted as loving concern or perhaps something more devious. Gyllenhaal has buffed up considerably for his role and actually looks like a cartoon come to life. He assumes a British accent and manages to be consistent with it throughout the film, much to his credit. It’s an extremely physical role, and Gyllenhaal trained for several months prior to filming to get in shape. He is pretty good with a witty line, has good chemistry with Arterton, and has a devilish smile reminiscent of Erroll Flynn in his swashbuckler roles. Director Mike Newell has incorporated scads of computer generated image effects which, because of Hollywood’s overuse of them, are not as impressive as they once might have been. The sword fights are excitingly staged with the help of three editors, who made them look so effective. Back in the early 1960s, there were countless “sword and sandal” action flicks imported from Europe and starring bodybuilders like Steve Reeves, Mark Forest, or Ed Fury. “Prince of Persia: The Sands of Time” takes those flicks into fantasy territory with its notion of a dagger whose magical sand can shift time. This leads to some interesting twists and surprises, but fortunately the script doesn’t overuse the gimmick. Rated PG-13 for violence, “Prince of Persia: The Sands of Time” works because it has a sense of fun without becoming a self-parody. Viewers can enjoy the action, watch two good-looking people hint at romance, have a good time with the lighter moments, and know that all will turn out well when the end credits roll.
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