The King

Not for the first time, I thank the British Cable/Satellite channels for making available an excellent film that that I would not have noticed at the cinema over here, in fact I don't believe it gained any significant cinema distribution at all. This is another example of the 'small' US movie (modest budget, even more modest marketing, no A-list stars) that is as good as anything produced anywhere in the world. A young fellow leaves the US navy and seeks out his father, who he's never met. He tracks Dad down to find that he's become a pastor in a born-again Christian church and now has a family of his own. I'll not reveal anything of what follows but will say that what develops is unexpected, shocking and totally gripping. OK, you get a sense that it will all end in tears but this is genuinely powerful stuff. Gael García Bernal is excellent (another Martin Sheen?) as is the rest of the cast. William Hurt, his glamorous male lead days behind him, demonstrates once again that he is an actor of real quality and ability – long may he continue to play similar cameo roles. I mentioned Bernals similarity to the young Martin Sheen previously. The King has some comparisons to 'Badlands' which blew me away all those years ago and I believe that this is as good a film. You need a slightly strong stomach but this is a powerful film for adults and I recommend it highly.

There is a similarity in the idea of search and redemption in both these films In, The King you pretty much know which way things will go until the end. Gael's (brilliant as usual) performance does hold out some hope of redemption, but the film is darker than Le fils where, however, the viewer in an absolutely creepy and uncomfortably (man obsessed with boy) state of suspense and terror till the end. Le fils is a more successful film, I believe, but The King is more thoughtfully written, directed and produced. I just found an odd similarity in the themes of both films. I was deeply touched at the end of Le fils; merely saddened at the end of The King. Tears for the former; "Well, OK....hmm", for the latter. Both definitely worth a watch though.

Just saw this film as part of the Seattle International Film Festival and I found it very well made. I go to plenty of festival films and most are truly dreck. This was a nice surprise. While the story goes a couple of steps too far in terms of reality, viewed as old fashioned Greek drama, it was quite exhilarating. The story hits many high points and keeps you on the edge of your seat wondering when characters will catch up with the audience. The acting among the principal players was highly consistent with the characters they set up and were actually believable when circumstances became overly dramatic -- even the daughter's actions made some sense when considering her "place" in the family and how much she was actually marginalized by her father. I would also say that Hurt deserves another nomination after the one he got last year for "The History of Violence" (another true gem). Plus, Bernal gives his most convincing performance yet -- very smart of him NOT to play this character in a very obvious way!

An unflinching and at times disturbing look at cause and effect, 'The King' is an oddly satisfying experience to be had. It takes you on a journey, from an unsuspecting state that descends so deeply into evil there's no turning back, but no looking away. With an uncomfortable final act and an equally unsettling performance by Gael Garcia Bernal, 'The King' is elevated to explosive heights. Stirring from beginning to end, this independent film is thought-provoking and a welcome surprise.

After being discharged from the Navy, Elvis (Bernal) sets out on a journey to meet the father he's never known. His father, David Sandow (William Hurt), is a devout Christian and a pastor at a local church in Texas. David rejects his son, for he sees him as an illegitimate son born out of wedlock during a time in his life he's chosen to forget. Elvis is told to stay away from his estranged father and family, but unknowing that Elvis is her half-brother, 16-year-old Malerie gives her virginity to him and embarks on a passionate relationship. But in a small Texas community like the one in Corpus Christi, secrets have their way of rising to the top and bubbling over. And for David and his family, many unexpected and devastating twists of fate await them.

A low-budget effort from British director James Marsh, 'The King' comes through and finds its footing thanks to a compelling script. What's funny about a film like 'The King' is how it doesn't immediately pull you in, but slowly wraps you in its web of brooding darkness. And before you know it, you're smothered by it. It's the kind of film that will find its way into your head long after it's over with. It raises some provoking issues, including the dark side of religion and how one simple choice can have a destructing and devastating chain of results. But the most interesting question remains, can a person be born evil? Was Elvis, who under the Christian perspective was born in sin, a damned child from birth? The viewer watches the character worm his way into the Sandow family, they watch him descend into evil, all until it's too late. No turning back. Can anyone truly 'get right with the Lord'? Are Elvis' intentions pure damnation and destruction, or is he somehow seeking redemption?

'The King' is filled with many unexpected and unpleasant twists. Yet with each turn, Marsh's directorial skills become that much more impressive. It's gritty and edgy, and driven by exceptional performances. For years now Gael Garcia Bernal has been the star of many (excellent) underground Spanish-speaking films, including 'Y Tu Mama Tambien', 'Bad Education, and 'Amores Perros', but perhaps is best known for his powerful role as Che Guevera in 'The Motorcycle Diaries'. And as he begins to enter American cinema (he stars in this year's best film, 'The Science of Sleep', in which he masters English and French in addition to speaking Spanish), his choice of character-driven roles suggests that the independent route may suit him better than the lure of Hollywood and special effects. His boyish charm makes him the perfect choice for the role of Elvis, his charm bleeds through the screen. Even William Hurt's eyebrow raising character, based off of John Mark Byers from Paradise Lost, is powerful and compelling to watch.

'The King' remains one of 2006's best undiscovered gems. It may not be what you'd call entertaining, but you'll find it difficult to look away. Raw and natural, 'The King' is a film told by characters and not by a camera, and sometimes that makes all the difference. James Marsh proves himself to be a capable and very talented director, who takes command of this heavy film and turns it into an experience as engrossing as it is uneasy. It's dark and deeply disturbing, yet very intelligent, and 'The King' indeed takes the crown.

This is a nasty piece of work. It's also an impressive piece of work, a sour and cynical dark comedy of a twisted kind of Americana by the young British director James Marsh, making his feature film debut. Elvis, (Gael Garcia Bernal), gets out of the navy and heads off in search of his daddy, the man who sired him and then abandoned him. Daddy, once a sinner, has now reformed and is a preacher with his own church. Bit by bit Elvis worms his way into the family circle, taking no prisoners on the way.

There are moments of shocking, unexpected violence and you are always left with a nasty taste in the mouth but at the same time, you are never quite sure which way the film is going to turn. In some respects it's a bit like Pasolini's "Theorem" but when I spoke to the director at the Dublin Film Festival he said he had never seen "Theorem", (but surely he must have known what it was about?), but did admit to being influenced in part by Dennis Potter's "Brimstone and Treacle".

It's a deeply unpleasant little picture but it is very well directed, (it feels unpolished, unfinished, rough around the edges which is just as it should be), and both Gael Garcia Bernal and William Hurt as his preacher father are superb. Bernal is like some beautiful, rotten fallen angel. Is he seeking redemption or total damnation? Hurt, too long in the doldrums, is on a run at the moment. With this, and Cronenberg's "A History of Violence" under his belt, he is very much back on form. See it certainly, but don't expect to be entertained.