Legend
Starring Tom Cruise, Mia Sara, Tim Curry
Directed by Ridley Scott
Written by William Hjortsberg
The filmmakers behind the legend certainly know their legends. In 90 minutes short of hypnotic visual excess, they deliver a virtual compendium of the history of fantasy literature.
The genre in question is that of the heroic quest. In very schematic, the heroic search generally goes something like this: the natural balance between good and evil is tipped in favour of bad after some particularly nasty turn of events; our intrepid hero is subject to a series of adventures in which he (or, increasingly, you) of excruciating and his companions are growing in strength and wisdom; These adventures will culminate in a climactic battle between the forces of good and evil where good triumphs over evil and all is well in the world/country/Kingdom/city/village/shoebox once again.
The genus precedes Homer at least several millennia, and more recent examples abound. The search for the Holy Grail was certainly a heroic mission, like the wizard of Oz by Baum, the Lord of the rings Tolkien, ad infinitum.
The legend is yet another child, a child fully aware of its grand heritage. The specifics of the story are of little importance, but here are in any case, for the curious: the natural balance between light and dark is tipped in favour of the Lord of darkness (Tim Curry) after the Horn was cut off from one of two remaining in the world of unicorns; Jack O' The Green (Tom Cruise) is subject to a series of harrowing adventures in which he and his companions are growing in strength and wisdom; These adventures will culminate in a climactic battle for Horn and the future of the world, a battle between Jack and darkness where Jack triumphs over darkness and everything is good in the world once again.
You had to ask.
The entire film is sprinkled with subtle (and some not-so-subtle) tributes to past work in the field. There is a scene where Jack plunges into a river for a ring, recalling the discovery of a ring of Sauron from Deagol, friend of Gollum, in Middle-Earth Tolkien's great river. One of Jack is then saved from evil darkness kitchen after being constrained within a pie crust for cooking; Hansel and Gretel would definitely have sympathized with her plight. Towards the end of the image, true love by Jack, Lili (Mia Sara), it was awakened by a kiss in sleeping beauty. The entire film resonates with allusions to The Last Unicorn by Peter s. Beagle (as well as other accounts of those mythical beasts equestrian). Convincing parallels could draw between legend and Jim Henson fantasy feature, The Dark Crystal. And, well, you get the idea.
Vast magical unicorn, a central theme in legend, is a highly pervasive myth in most human cultures. Unicorns were known to the classical Greeks and Romans, and examples can be found in Christian, Jewish, Hindu and also ancient Chinese mythology. If they were cruel, vicious creatures originally and indomitable, unicorns became (at the beginning of the middle ages) kind symbols of Christ. The unicorns of the legend are like the latter, drawn by Lili's innocence and virginity. It is through this attraction, their mortal weakness, that the servants of the Lord of darkness are able to get the magic Horn.
But the plot is not strong suit of the legend. Far from it. Visual style is Virtuoso Director Ridley Scott who capture and enchant his audience in a way that can match a few movies. Scott the duellists, previous image, Alien and Blade Runner (visual masterpieces in their own right) were mere exercises for warm-up that he evokes images. There are images in the legend that take up permanent residence in your memory, haunting for years to come, are bedeviling with their bright colors, their delicate interplay of light and shadows. This film is so damn good to look that is almost frightening.
Why not make mistakes legend for a great movie, though, rest assured it is not Beautiful, Yes;. great, no. First of all, this movie is in desperate need of some intelligent spirit. Although screenwriter William Hjortsberg (Angelofalling) knows his imagination, his script is full of sophomoric humor. At one point, a goblin Gets the seat of his pants and dances around fried for a few seconds hilarious before dousing himself with water. Yuck, yuck. Cackle, cackle. Probably there is a scene of pie-in-the-face around somewhere on the cutting room floor as well.
The performances are all relevant, but as the Lord of darkness who shows Tim Curry. He plays his bad (a Minotaur of sorts, brilliantly created by Peter Robb-King and his crew makeup) with the charm and the fury. Tom Cruise makes a convincing but not particularly memorable, as the hermit in the forest, Jack. The rest of the cast moves the plot along without a hitch.
A few words are probably in order for the story of the legend itself. Originally intended as a summer ' 85 release, Universal balked at its high cost and competition (from smash, escape back to the future, no doubt). They then made the kind of thing I have tried with the cut of Gilliam: Brazil, more than two hours to about one and a half. The soundtrack by Jerry Goldsmith was thrown out in favor of one from Tangerine Dream. In general, universal (as always) never was quite sure what the hell he was doing.
Most of the changes seem to have done little damage to finished product. The shorter version, closer is probably best for his brevity, and the score really does not detract from the film's highly visceral appeal.
So what becomes a legend most? If you are curious to sneak a peek at this one. It's well worth the price, and could be in for a fascinating experience that won't soon forget.