Basically not another one of those mishandled video game adaptations

Rating: 8/10 (10 July 2010)

Based on the popular game series by Jordan Mechner, "Prince of Persia: The Sands of Time" is the latest member to be adapted by Hollywood. Yes, yes, "I told you so" or "God not again" are right outside the door, but be assured that this is more or less the finest video game adaptation to be shown on a silver screen.
ACTING: I really don't get the deal with people criticizing, whining, moaning and going all emo about Jake Gyllenhaal's casting as the titular character (aren't we supposed to do these after we have seen the movie?). He appears on-screen with his characteristics, like being tough, mischievous and hurt, instead of letting his looks do the acting. As a result, we have a hero that is extremely likable, energetic and charismatic. With royal beauty and tough attitude, Gemma Arterton is a unique romantic interest as she doesn't appear weak, doesn't like to tag along with the male lead and has an extremely memorable moment. Yet, besides all that rare elements, this is just another posh role for her to be feisty and commanding. The best player however, is Alfred Molina's Sheik Amar. How he acts clearly spells every syllable of "I enjoy my role", one that you have to see to judge for yourself. He's a comic relief, which can be hammy at any moment, but with all that liveliness his welcome is never outstayed.
The villain essence in this film is timid, so Ben Kingsley and the Hassansin Leader are not menacing enough when they are very capable (hey Disney, think Barbossa!). The better supporting character out of the bunch though is Steve Touissant, a definite scene-stealer at first sight yet with so limited time for us to wholeheartedly care (the same goes for the brothers of the Prince). However, since all of them perform their roles very solid within their parameters, it makes up for the lack of audience involvement.
SCRIPT: This writing duo rewrote the "Tale of Two Sisters" remake very well and I'm glad Disney brought them in for adapting this. True, there is all the clichés and cheese to be expected like many epics or story lines about royal life, but it offers entertainment at its best effort. The writing is flexible enough for newcomers to absorb but apparently not that memorable or condensed (they take elements from 6 games) as many reviewers have stated. Oh, and there is this overuse of the word "sacred" that can cringe the strongest-minded of movie goers. This is a different entity to the game, but if you have this idea equipped before going in, you're in for an exhilarating time at the movies.
DIRECTION: Mike Newell's last attempt on the fantasy genre, Harry Potter 4, is not that much appreciated, being too drawn out like a drama more than what it is supposed to be. He redeems himself with PoP though. The action is great and the drama moments transfer their much needed information at an acceptable length, resulting in the audience always getting attached to the movie. He honors the characters, the scenery and plot over the special effects, letting the more desirable elements to grace the screen and wow the audience. This is the quality here and it gives the film more substance than the rest of its video game adaptation relatives. On the contrary, how he films the parkour/action sequences is Newell's downside. He opts for the frenetic editing instead of smoothing them out like Casino Royale or even closer to home, the Harry Potter episode that he helms. So, even though the characterization and the visual are spot- on, there is huge disappointment as action is the key aspect of PoP and it is, once again, going down the despicable recent Hollywood "trend".
MUSIC: Harry Gregson Williams does not disappoint. The score for PoP is amazing, for the lack of a better word. It is very fable-like in general, convincingly displays everything that is mystical and alluring about the nation Persia. When needed, the music leaps to a crescendo effortlessly and relentlessly or slides down into mystery and haunting territory when the Dagger is activated. The Hassansins have very jazzy brasses/techno strings to shout out on their arrival, Tamina has fast- paced and strong beats to introduce her, Sheik Amar appears with gleeful tunes to accompany him with the original ostrich racing etc. The music varies and fits to whatever it is on screen like pieces of a jigsaw puzzle, making it a definite treat for the ears.
CINEMATOGRAPHY: John Seale displays the desert scenery at the highest possible level of spectacular-ness and because they are always either packed with people or standout structures everything is very much alive. The man's work is consistently stylish even if the material he has to work with is limited in scope (see Poseidon). Sadly though, all that skill is almost marred by the editing with frenzy cutting and shoddy slo-mo work. In the end, only sequences involving the Dagger or when there is no action e.g. Tamina disguises as a servant in Avrat are evidence of this guy is at his best.
VISUAL EFFECTS: The most welcoming thing is that none (or few) are used in the stunts, so here your heart pounds for real. When called for, the effects are convincing - from the weirdly demonic snakes to the whole sequence in the secret chamber. It wouldn't hurt to hope that Hollywood can realize parkour as an example to prove that action can be done without CGI and not an exploitable ingredient so that all action from here onwards is parkour only.
Even though the reception and attention are at low levels, Prince of Persia: The Sands of Time is basically not another one of those mishandled video game adaptations. While there are flaws, but by any chance you have to see it. Instantly.
From Vietnam, Denisvn93-1