Michael J. Michael J. Bassett
Bassett is John Milius, "Solomon Kane" is not "Conan the Barbarian". However, even this time Horward Robert Ervin (1930-36) must turning in his grave, the film on the English Puritan of his emphatic and fascinating stories is more than decent. The writer-director has read and Howard came out with a transcript - if not the letter, in spirit.
It 's interesting, speaking of transcription, the change of religious affiliation, which is crucial in the stories while in the air and the film is undefined. Kane (James Purefoy - a singularly appropriate name) is called "Puritan" once, it would seem like an ironic variation of "peace" (the Puritans, needless to say, they were not pacifists at all, they were Anabaptists - at least in theory - or Quakers, but nobody has ever thought to connect our hero to these seven). In
Howard, Solomon Kane is one of a gloomy fanaticism against evil: Kane really the devil walks the earth "up and down," as the Bible says, and he feels the need to eradicate with fire and sword every trace, whether it is supernatural monsters or cruel men. Moreover, his psychology is the most articulate among those characters howardiani: the way that Kane "is" (the Berseker compulsively attracted by the adventure and the bloody clash) results in a sense, form, what Kane feels that he (the fighter in the name of God) is made with discreet finesse.
This film changes the character's backstory : Kane is kind of a pirate in a incontro ravvicinato con le potenze infernali viene a sapere di essere dannato. Comprensibilmente cambia vita, si fa tatuare una grande croce sulla schiena e si rifugia in un convento di monaci (nell'Inghilterra del 1600?! Evidentemente questo è un mondo alternativo in cui non solo esiste la magia ma Enrico VIII non ha mai decretato la dissoluzione dei monasteri). Poi si lega d'amicizia a una famiglia (la madre è Alice Krige, che ha collezionato una bella antologia di ruoli secondari nella fantascienza e nell'horror), il cui massacro lo porta a riprendere le armi: la scena rende in modo assai convincente il cambiamento di Kane da un ripugnante pacifismo a quella volontà di uccidere i malvagi che in ultima analisi è la qualità migliore di un man. The solemnity of the fairing Kane emphasis here is a moment of "western" but is also intended to reconcile with the iconography of the character set graphics and cartoon.
The film, produced by the Anglo-Franco-czech, that practicality has realistic horror that characterizes the English. Hence his discreet visual poignancy: an England and damp earthy, desolate under the assault of evil, with masses of refugees who wander through the woods, the demonic castle decorated with skulls, the girl who reveals a Witch, and the reddish color of the autumn campaign (but also, in a rare scene of peace, the use of snowflakes to create a lyric). Although the plot Bassett is an invention of the scenes are of the same "physical" exalted the stories of Howard. The battles are frantic and extreme - including the final one with a demon that reminds a bit of truth 'the Balrog from The Lord of the Rings. " When Kane is crucified by his enemies, than that Christological connotations (the crucifixion and resurrection) is staged here that extreme suffering that is typical of Howard - and that combination is now back in Western culture through cinema and comics Japanese and Chinese.
The film clearly aims to lay the foundations for a series. Maybe hear about Kane on the screens, and in any case, if this film will serve to renew the reputation of Howard, so much the better.
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