East is east

There are two reasons to watch films, one to be entertained and the other to be enlightened, and while several directors have managed both, one knows better than to expect this in recent times. If I have mentally prepared myself to watch an action-packed blockbuster then it must deliver. I expect my mind to be totally numbed and fed gratuitous morsels of cinematic popcorn. It is better to be ready for this mental assassination than to go into a film whose poster depicts beefcake men in tights, and women in diaphanous garb pouting wistfully, expecting a cinematic epic. This is the beauty of the way in which contemporary American cinema has evolved. Millions are spent on absolutely ridiculous special effects in order to make billions more. Movies that are products for consumption make no apologies for being products, and you, the movie-goer, can enjoy guilt-free entertainment.

This is what The Prince of Persia provides. It is also, it must be said, an Orientalist’s wet dream. It is a shame that when the largest empire of ancient history, the Medeo-Persian Empire, is plundered for material, it is only to create offensive depictions such as in the film 300, and candy-floss portrayals as in The Prince of Persia. That said, let’s get back to guilt-free entertainment, American-style.

The film is based on a gaming creation of the same name, known for its cutting-edge graphics and general atmosphere of Eastern mystique. This atmosphere is carried into the movie and there is something to please every fantasist: enchanted swords, evil sorcerers, snakes, the ever-popular treacherous Wazir-character, hulking princes in gleaming body-moulded armour, time-bending high-jinx and of course a winsome princess. All of the main characters speak with British accents, including the American actors, which means they had to train to speak “British,” because of course everyone in ancient Persia spoke that way. I don’t quite know what’s worse — the faux generic “eastern” accents with the soft “t’s” that are put on for these purposes or having everyone be British or American.

The real surprise here is Jake Gyllenhaal, who cinema enthusiasts and film students everywhere will know from his stellar performance in the cult favourite Donnie Darko, and acclaimed role in Brokeback Mountain opposite Heath Ledger. No one saw his transformation into action hero in Prince of Persia coming. It seems he has re-invented himself in a clever career move to widen his scope. I have to say most action hero types leave me cold. They’ve got too many muscles, zero charisma and can’t act to save their lives. Perhaps it’s just that too much machismo initiates an automatic shutdown mechanism in my brain. Even though I willingly went to watch this film, the inordinate testosterone-fuelled battle and fight splurges proved all too challenging. There are only so many “Yaaarghs!”, “Unhhhs” and “ Hai-yas” one can compute whilst heads are being lopped off and whatnot. However, I did find myself, much to my chagrin, possibly for the very first time, being lulled into a semi-hypnotised swoon every time Gyllenhaal was on screen. Perhaps it’s the wide, wide eyes that make him look like a Japanese anime character, or his newly acquired muscle-definition, or possibly, just possibly, his acting skills, whatever the case, Gyllenhaal makes the movie. He brings a new kind of energy to the genre. The casting director has struck gold in my opinion and may well have converted anti-action hero diehards into simpering fools.

Published in the Express Tribune, June 13^th, 2010.