It therefore falls to a quieter side character, which is an unusual move, to keep most of our sympathies on side and it’s to John Lynch’s credit (as Wolfstan) that he does so without really making it apparent. His presence and character fill the screen, especially as a man described as being ‘more dangerous than pestilence’, but even with his more brutal moments being balanced by some relative compassion, Ulric is still a man absolutely governed by his unrelenting faith in God and the church, and therefore not a conventional hero. Sean Bean’s towering performance easily supports the weight of the film and, combined with his look, can’t help but bring about memories of Boromir, but it’s a massive asset to the film and one that I relished (you can read my thoughts on Boromir in one of our lists here). Osmund, the young monk (as played by Eddie Redmayne), would be the viewer’s normal point of relation, but his youth, innocence and ignorance make him difficult to side with. The rag-tag ‘men on a mission’ aspect is familiar, but rarely have they been so complicated to root for and portrayed in such an exposed state, being threatened by more than just hostile surroundings and foes, with the disease itself being ever present. That Black Death is such a challenging and original watch is completely to its credit, as there are so few films made now that defy easy categorisation.
Using a young monk as a guide, who himself is in a vulnerable position of not knowing if a human or a divine love is more important, they set off on a bleak and shocking quest. The main purpose of seeking out the village isn’t to use it as a sanctuary for those who have yet to be struck down by disease, but to put an end to people questioning the Christian hold that the church has over them, with the commonly held belief being that God is punishing everyone to the point of breaking their faith. One thing I would strongly advise is to avoid watching any more than the first half of the film’s trailer – the start will give you a good indication of how the film looks and feels, but the end will ruin any of the mystery of the journey itself. Such are its themes of religious zeal, faith, the influence of love and the notions of right and wrong, that it’s almost impossible not be affected by any one of them. Don’t get me wrong, Black Death is a great film, but utterly harrowing and so well put together that it left me wandering the streets of London afterwards, feeling slightly crushed under a weight of existential angst. So where does Black Death fit in with all the others? Well, if you’re intending to watch it as part of a movie session, then you’ll definitely want to watch it first as, if you’re anything like me, you’ll be in need of a swift pick-me-up afterwards. So far this year, I’ve reviewed Solomon Kane, Centurion, Clash Of The Titans and even the more contemporary-based (but still sword-centric) Ninja Assassin. 2010 can now firmly be named ‘The Year of the Sword’, as my craving for period-based quest movies continues to be satiated with Christopher Smith’s Black Death.
0 kommentar(er)
