Kingdom of Heaven - Film Review

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Directed by Ridley Scott and written by William Monahan, Kingdom of Heaven is a historical epic set during the tumultuous period of the Crusades in the 12th century. The film stars Orlando Bloom as Balian of Ibelin, a blacksmith who rises to become a knight and ultimately a key figure in the defence of Jerusalem against Saladin (Ghassan Massoud). With its sweeping visuals, complex characters, and exploration of religious and political themes, Kingdom of Heaven is a thought-provoking film that delves into the conflicts of faith, honour, and survival.

The film opens in France, where Balian (Bloom), a grief-stricken blacksmith, is mourning the recent suicide of his wife. He is approached by Godfrey of Ibelin (Liam Neeson), a crusader who reveals himself to be Balian’s father and invites him to join him on a journey to the Holy Land. Initially reluctant, Balian eventually agrees, seeking redemption for himself and his wife.

After Godfrey’s death, Balian inherits his father’s title and lands in Jerusalem. Once there, he becomes embroiled in the political and religious tensions between the Christian rulers of the city and the Muslim forces led by Saladin. Balian rises to prominence due to his honour, courage, and leadership, ultimately leading the defence of Jerusalem against Saladin’s army.

The film culminates in the Siege of Jerusalem, where Balian negotiates a peaceful surrender to Saladin, ensuring the safety of the city’s inhabitants. The story ends with Balian returning to France, rejecting the call to continue the Crusades, and choosing a life of peace.

Religion is central to Kingdom of Heaven, serving as both a source of inspiration and a cause of conflict. The film examines the complexities of faith, highlighting how it can unite and divide people. Balian’s journey reflects a personal struggle with faith, as he grapples with questions of morality, redemption, and the true meaning of piety.

The concept of honour is a recurring theme, embodied by characters like Balian and Godfrey. The film contrasts their noble ideals with the greed and corruption of other leaders, such as Guy de Lusignan (Marton Csokas) and Reynald de Châtillon (Brendan Gleeson). Balian’s leadership during the Siege of Jerusalem exemplifies the principles of compassion and responsibility.

Ridley Scott portrays the Crusades as a cycle of violence driven by ambition and fanaticism. The film critiques the glorification of war, emphasizing the human cost of conflict and the fragility of peace. Saladin and Balian’s mutual respect underscores the possibility of coexistence, even amidst war.

Balian’s arc is one of redemption, as he transforms from a grieving blacksmith to a knight who upholds the values of justice and mercy. His journey is also about self-discovery, as he learns to define his identity not through titles or lineage but through his actions and beliefs.

Jerusalem serves as a symbol of faith, power, and cultural identity. The city’s significance to Christians, Muslims, and Jews is a central element of the story, reflecting the broader historical and religious tensions of the Crusades.



Balian of Ibelin (Orlando Bloom): Balian is the film’s protagonist, a man seeking redemption and purpose. Orlando Bloom’s performance, while understated, captures Balian’s internal conflict and evolution. Initially driven by personal grief, Balian grows into a leader who prioritizes the welfare of others over his own ambitions. His moral integrity and willingness to challenge authority make him a compelling and relatable hero.

Godfrey of Ibelin (Liam Neeson): Godfrey serves as Balian’s mentor, embodying the ideals of knighthood and honour. His influence shapes Balian’s values and sets him on his journey. Though his screen time is limited, Liam Neeson’s commanding presence leaves a lasting impression.

Saladin (Ghassan Massoud): Saladin is portrayed as a dignified and pragmatic leader, contrasting with the fanatical Christian antagonists. Ghassan Massoud’s nuanced performance humanizes Saladin, emphasizing his wisdom, restraint, and commitment to justice. His interactions with Balian highlight the possibility of mutual respect between opposing sides.

Sibylla (Eva Green): Sibylla, the sister of King Baldwin IV and wife of Guy de Lusignan, is a complex character torn between duty and desire. Eva Green brings depth to the role, portraying Sibylla as both a political player and a woman seeking personal agency. Her relationship with Balian adds a layer of emotional complexity to the story.

Guy de Lusignan (Marton Csokas): Guy is the primary antagonist, a power-hungry and ruthless leader whose actions escalate the conflict with Saladin. Marton Csokas delivers a menacing performance, embodying the arrogance and recklessness that contribute to Jerusalem’s downfall.

King Baldwin IV (Edward Norton): King Baldwin IV, known as the “Leper King,” is a tragic figure who strives to maintain peace despite his illness and political challenges. Edward Norton’s performance, hidden behind a mask, is both subtle and powerful, conveying Baldwin’s wisdom, vulnerability, and determination.

Ridley Scott’s direction is a hallmark of the film, blending epic scale with intimate character moments. The sweeping landscapes, intricate battle sequences, and attention to historical detail create a visually stunning experience. Scott’s ability to balance grandeur with emotional depth is evident throughout the film.

The cinematography by John Mathieson captures the beauty and brutality of the medieval world. The use of natural light, wide shots, and dynamic camera movements enhances the film’s immersive quality. The contrast between the lush landscapes of France and the arid deserts of the Holy Land underscores the cultural and geographical divide.

The score by Harry Gregson-Williams combines orchestral and Middle Eastern influences, reflecting the film’s cultural and thematic diversity. The music enhances the emotional resonance of key scenes, from the solemnity of Balian’s journey to the intensity of the battle sequences.

The editing by Dody Dorn is generally effective, though the theatrical cut was criticized for its pacing and lack of character development. The 200-minute director’s cut addresses these issues, offering a more cohesive and richly layered narrative.

The film’s production design is meticulous, with elaborate sets and costumes that bring the medieval world to life. The recreation of Jerusalem is particularly impressive, capturing the city’s architectural and cultural richness.

Kingdom of Heaven is inspired by historical events, though it takes significant liberties for dramatic purposes. The real Balian of Ibelin was a nobleman, not a blacksmith, and the timeline of events is compressed. While the film’s portrayal of Saladin and the Siege of Jerusalem is generally accurate, its depiction of the Crusades as a primarily secular conflict downplays the religious motivations of the time.

Despite these inaccuracies, the film captures the essence of the era, emphasizing the complexity of the Crusades and the interplay of politics, religion, and culture. Its balanced portrayal of Christians and Muslims has been praised for promoting understanding and dialogue.

The film’s cinematography, production design, and music create a visually and emotionally immersive experience. The exploration of faith, honour, and coexistence adds depth to the narrative. The cast delivers compelling performances, particularly Ghassan Massoud, Edward Norton, and Eva Green. The extended version provides a richer and more cohesive story, addressing many of the criticisms of the theatrical release.

The shortened version sacrifices character development and narrative depth. While competent, Bloom’s portrayal of Balian lacks the charisma and emotional range needed for such a central role. The film’s deviations from history may frustrate viewers seeking a more accurate depiction of the Crusades.

Kingdom of Heaven received mixed reviews upon its theatrical release, with critics praising its visuals and themes but criticizing its pacing and character development. However, the director’s cut has been widely acclaimed as a significant improvement, earning recognition as one of Ridley Scott’s best works.

The film’s balanced portrayal of Christians and Muslims has sparked discussions about the portrayal of historical conflicts in cinema. Its themes of coexistence and the futility of war remain relevant, resonating with contemporary audiences.

Kingdom of Heaven is a visually stunning and thematically ambitious film that explores the complexities of faith, honour, and human conflict. While its theatrical cut falls short in certain areas, the director’s cut offers a richer and more satisfying experience. Through its compelling characters, sweeping visuals, and thought-provoking themes, the film serves as both a historical epic and a meditation on the challenges of coexistence in a divided world.

Ultimately, Kingdom of Heaven stands as a testament to Ridley Scott’s ability to craft epic stories that resonate on both an emotional and intellectual level. Its enduring legacy lies in its ability to inspire reflection on the past while offering insights into the present.

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