Alexander (2004)
I have never been a fan of Oliver Stone, but I went into Alexander
with high expectations. It was, after all, the story of one of
history's most compelling figures. It also promised to be a lavish
production, provided that Stone would rein in his usual self-indulgence.
Alas, my expectations were soon dashed, for Stone seems unwilling
(or unable) to abandon his appetite for excess theatricality.
Alexander, despite the fascinating historic figure at
its center and all its epic dimension, is a crude, turgid bore,
with a banal screenplay, clumsy, overwrought direction, and poor
acting.
For starters, the story is told in a nonlinear fashion, jumping
back and forth between different periods, completely destroying
the viewer's ability to follow (or care about) Alexander's life
and accomplishments.
The film opens with the death of Alexander (finely played by
Colin Farrell), and is soon followed by a talky, overlong scene
in which Alexander's story is dictated by the aged Ptolemy (Anthony
Hopkins) to his scribes. The film then moves into Alexander's
childhood and then adulthood, covering his rather dysfunctional
relationship with his father Phillip (Val Kilmer), and ultimately,
Alexander's conquest of the known world.
Then, roughly two thirds of the way through the film, the viewer
is suddenly thrown back years earlier, into an extended scene
where Phillip is assassinated. Perhaps Stone was trying for something
akin to Citizen Kane, but the clumsy nature of these time-shifts
make an already awkward film just plain off-putting.
In the role of Phillip, Val Kilmer wins my award for the best
unintentionally hilarious performance of the year. Kilmer's attempt
to ape Farrell's Irish accent (presumably for the sake of continuity)
only comes off sounding like Blackbeard the Pirate. Angelina
Jolie as Alexander's mother looks great in a chiton, but is far
too young to be playing Alexander's mother, for she cannot be
more than five years Farrell's senior.
The battle scenes are appropriately epic and sprawling, but are
little more than replicas of those seen in Braveheart and
Gladiator.This is not to say that Alexander is
completely devoid of virtue. There are many scenes which are
rich in visual splendor and copious moments of exotic, compelling
sensuality. Indeed, the costumes, sets, and overall visual palette
is a kaleidoscope of stunning imagery. The score by Greek composer
Vangelis Papathanassiou (Blade Runner) is the film's most
shining virtue, and his ability to express epic glory and earthy
primitivism through his music is excellent. In fact, so effective
is the score that in the scenes where the music is permitted
to shine, the viewer is almost convinced that Alexander
is a decent film.
But for all its cosmetic virtues, Alexander never succeeds
in involving the viewer, and offers little insight into what
drove the man to become what he was. The overall narrative is
convoluted, characters are an indistinct blur, and in the end,
even the character of Alexander remains an unsatisfying enigma.
Paul Andrew MacLean
© 2005
Shelton CT 06484 USA
(800) 232-2224 voice
(800) 775-2729 fax
LadyJanet@RenaissanceMagazine.com