Violence in “The
Kingdom” is by far the most controversial and thought-provoking
aspect of the film. Is the graphic nature of the violence realism
or exploitation? During the opening scene we are presented with
horrendous and graphic acts of terrorism, and are persuaded to abhor
the antagonists and root for the FBI. Later in the film, however,
the American agents sent to Saudi Arabia to investigate the bombings
are inclined to use equally merciless and intemperate tactics to
carve their way through a hostile city where one of their own has
been captured. While revenge is seemingly justified, and violence
is displayed as utterly expedient, it seems that Berg has laid out
conflicting messages about the derivation of terror. When the audience
cheers during moments of spectacular action and daring shootouts
as the villains succumb to superior FBI training (and perhaps luck),
it is even more conflicting that at the onset, terrorism and violence
is so undividedly condemned. Toward the explosive conclusion, the
mayhem is spectacularly amplified, and it is clear that true heroes
use gunfire and motives of revenge to save the day. Early sequences
ask the audience to feel sympathy for the innocent Middle Easterners
caught in the war, but at the resolution, the last lingering shot
of the film leaves a conflicting, sour taste of general hatred wafting
about.
The prominent moral and political themes of the film may shift
suddenly from time to time, but the pacing and action never let
up. Astonishing sound effects bring the audience directly into
the middle of a gunfire-laden sortie and within a grenade toss
of missile explosions. Add to that Danny Elfman’s riveting
score, and few films compare to the suspense and awe evoked from
the heart-pounding battle sequences and freeway car chases (shot
in the scorching heat of Arizona). For once the agitated editing
serves to rattle the viewer at key points of chaos, and everything
within the scene appears tumultuously laced with tension.
While poignancy and political messages are occasionally made
all too apparent, the intensity and bravado of the action scenes
rapidly overshadow any deeper meanings that “The Kingdom”
attempts to evoke. Whatever Berg’s ultimate message about
the war in the Middle East, the audience is likely to only remember
how visually stunning it was to witness the bad guy getting his
comeuppance and the good guys saving the day. Translated to realism
it would be a small win for the United States, but in the world
of “The Kingdom”, heroes are larger than life and
always trained to effectively wield a machinegun. And we’re
all okay with that.
- Mike Massie
