Published via Ecency

(source: tmdb.org)

Big studios in the first decades of Hollywood liked to produce biblical epics not only because of religious beliefs of the general audience, but also because such films allowed spectacle and even some sex and violence without creating backlash by religious conservatives. In later, more secular times, biblical epics, at least in their traditional style, lost much of the purpose and required either some innovative approach or immense talent to succeed. King David, 1985 film directed by Bruce Beresford, had none and this resulted in one of the greatest failures in history of 1980s Hollywood.

The film deals with life and times of David, second king of Israel and Judah, known as one of the most colourful characters in the Old Testament. Plot begins around 1000 BC, when Israel is under the rule of its first king Saul (played by Edward Woodward) who is increasingly at odds with Samuel (played by Dennis Quilley), prophet and spiritual leader. Samuel, convinced that Saul has failed to carry out God’s commandments, declares that Israel will get new king and anoints young shepherd David (played by Ian Sears). During the war with Philistines David joins Saul’s army and, despite his small stature, slays Philistine champion Goliath (played by George Eastman) with a sling. This brings him fame and as an adult (played by Richard Gere) he becomes part of Saul’s inner circle, befriends king’s son Jonathan (played by Jack Klaff) and even marries Saul’s daughter Michal (played by Cherie Lunghi). But, as time goes by, Saul becomes increasingly paranoid and David must flee in order to save his life. When Saul and his son die at the Battle of Mount Gilboa, David triumphantly returns as new king. His reign is beset with problems related to his own moral shortcomings like the lust towards Bathsheba (played by Alice Krige), wife of his captain. Greatest challenge comes from his own son Absalom (played by Jean-Mac Barr) who rebels against his rule.

Like all biblical epics, King David was rather ambitious project, partially inspired by success of Franco Zeffirelli’s 1977 television miniseries Jesus of Nazareth and partially by Star Wars, because some executives of Paramount Pictures saw parallels in relation between Luke Skywalker and Obi-Wan Kenobi with relation between David and Samuel. Whatever the plan had been, it was poorly executed. The only thing that actually works in the film is cinematography by Donald McAlpine, which allows Italian locations to convincingly pass for ancient Palestine and some of film’s large budget become visible in scenes featuring props and large sets. Everything else is complete mess, starting with script by Andrew Birkin and James Costigan which appears to be too reverential to its biblical sources and turns fascinating story of David into cold, chronological display of most famous episodes from Old Testament often without much connection with each other and with little space for characters to develop. Attempt to compress decades of someone’s life into feature film results in much of the content actually being narrated than shown in the film (which, on other hand, saves authors from displaying some of the more gruesome biblical events that could be characterised as genocide).

The most noticeable flaw of the film is casting. Richard Gere, brought by studio at the account of his early stardom, is simply the wrong choice to play King David, and this mistake is even greater because of decision to allow him to use his American accent. This makes his character stand unnaturally from everyone else, because most of his colleagues are British who, in best tradition of Hollywood, speak perfect Received Pronunciation. Many of such unmistakably European actors, including Woodward as increasingly psychotic Saul, are under heavy makeup which fails to help pass their characters as Middle Eastern men. Situation is even worse with female segment of the cast, including Cherie Lunghi and Alice Krige whose only distinction is that they appear naked (which MPAA censors, apparently awed by biblical sources, ignored by giving this film PG-13 rating). Soundtrack by otherwise talented composer Carl Davis is also disappointing and further contributes to film’s failure in scenes when certain characters break into song unintentionally creating effect very much like in Mel Brooks’ parodies. King David is complete waste of time, especially in these times when biblical stories as well old school historical epics find more fertile ground in the medium of television and miniseries format.

RATING: 2/10 (-)