Redbad Review

REDBAD

Film Review by FIORE

Sometimes, timing is everything.  I was reading another of Bernard Cornwell’s epic Medieval England series, the Saxon Saga,  surrounding the adventures of Ultread of Bebbanburg, when Epic pictures asked me to review their latest release, REDBAD.  Set around the same time period, it is a Viking tale with a clash against the Franks and conflict between Odin and Christ.  It’s the story of an unsung hero, using time lapse editing.  Since I was already in the Medieval mind set reading THE FLAME BEARER, REDBAD fit nicely into my mien.  Though it is nearly three hours long, this was a tale worth watching.

For those of you old enough to remember, and those who are younger but just like watching old movies, Victor Mature starred in the original film version of ONE MILLION B.C.  He played Tumak, a young warrior prince from the rock tribe, who falls in disfavor with the king, played by Lon Chaney, Jr.  Banished from the caves, he travels and discovers the shell tribe by the ocean’s shoreline.  There, he meets Luwana, played by Carol Landis.  They fall in love and start a family.  He adopts his new home, only to discover it is necessary to return to the cave people to save them.

That trip of nostalgia is brought to you because REDBAD is essentially the same story.  Redbad, played by Gijs Naber, is a warrior prince who is framed by his uncle and banished from his clan.  He is set adrift and comes to a new land where he encounters a different culture and meets his love, Frea, played by Loe Shavekort.  But there is more than just swordplay between the two cultures.  There is also a belief system challenge.  The Vikings have Odin and Valhalla, while the Franks are using Christianity as a weapon.  The chief antagonist is Charles Martel, played by Tibo Vandenbore.  He uses the Christian religion to foster his desire for wealth and power.  Also starring are: Jonathan Banks; Siren Malling; Lisa smit; and Teun Kuiboer. 

Director Roel Reine presents a sweeping epic, as he also serves as the cinematographer.  Over 8,000 folks served as extras in REDBAD.  No cheesy CGI effects to create crowds, like in Russel Crowe’s THE GLADIATOR.  The script, by Alex Van Galen, contains several gaping plot shifts.  Certain scenes seem to have no context in time, as it takes mere moments to travel great distances, while others happen in the blink of an eye, like Redbad marrying and having a son within the span of one dissolve edit.

Speaking of edits, Editor Radu Ion utilizes a time lapse editing technique, where the audience sees future scenes described in the narrative or dialogue.  This technique was prominently used in OUT OF SIGHT with George Clooney and Jennifer Lopez, though it is incorporated more effectively here.

There is a rousing swashbuckling score by Trevor Martin.  Stunts are arranged by Kerry Gregg and the fight choreography is handled by Seng Kawee, who embellishes the swordplay with quite a few modern techniques.  

Since I was already in the Medieval frame of mind, I appreciated the sword fights and legends of REDBAD.  Graphics at the film’s conclusion suggest REDBAD was erased from history books, while his antagonists were canonized as saints.  The graphics are suspect, as there is much about REDBAD on various internet sites where his prominence and profile are detailed in glowing terms.

Despite these few drawbacks, REDBAD is an enjoyable view.  Just be sure you gird yourself for a long sit and have a few snacks handy.  It’s a good showing for Vikings, and not those from Minnesota.