ESSAYS

Film as a Contemporary Myth or Destruction of Historical Reality: Kingdom of Heaven by Ridley Scott

The author analyses the film Kingdom of Heaven (2005), by Ridley Scott. The film did not get particular attention of the audience and it was not praised as would be the usual case. The director’s work is equally impressive in various genres — Alien (1979), which represents science fiction with influences of horror film; Blade Runner (1982), which intertwines science fiction and film noir (and it is considered to be one of the best films of its decade), Thelma & Louise (1991), which is based on the sub-genre of road movie; and the historical spectacle Gladiator (2000), which renewed interest for that neglected genre that served as the basis for Kingdom of Heaven as well.

Both films were preceded by a Scott’s film from 1992, 1492: Conquest of Paradise, which pertains to the same genre. By placing the film between the classical perception of crusaders as primitives and as restorers of Christianity, the film advocates the individualism of the central heroes of both confronted parties — they do not use religious traditions as guidance, but search for the basic moral law. On the other hand, war-mongers are deeply rooted in well-tuned religious mechanisms. However, Scott is an author of an exceptional visual sensuality. The scope of light becomes an impressive guide to the film’s atmosphere — from bright-dark to plain air. Just as Scott’s Black Hawk Down (2001), about the American military intervention in Somalia, Kingdom of Heaven provokes a broad range of social and political reactions. Only the disharmony between different factors of the film material and the social context prevents this historical spectacle from gaining full credibility.

Tomislav Čegir