Starring: Jake Gyllenhaal, Gemma Arterton, Ben Kingsley
Directed by: Mike Newell (“Harry Potter and the Goblet of Fire”)
Written by: Boaz Yakin (“Dirty Dancing: Havana Nights”), Doug Miro (“The Uninvited”), Carlo Bernard (“The Uninvited”)
With the exception of 2004’s “The Day After Tomorrow,” Jake Gyllenhaal always seemed like the type of actor who couldn’t be wooed by the bells and whistles of mainstream Hollywood. From standout performances in unique films like “Donnie Darko,” “The Good Girl,” and “Brokeback Mountain,” so much of Gyllenhaal’s on-screen attraction has been the fact that there wasn’t much action-hero attitude in him begging to escape.
So, it’s a bit surprising (not only because he’s playing a Persian, but looks nothing like someone of Persian descent) that Gyllenhaal signed up to star in “Prince of Persia: The Sands of Time,” a movie adaptation of the popular video game series created by Jordan Mechner in 1989. While the title might sound like a gaudy Middle Eastern soap opera, there’s nothing remotely dramatic about this lazily-scripted story. Like most over-produced Jerry Bruckheimer mainstream hullabaloo (with the exception of the first “Pirates of the Caribbean”), “Persia” is not so much entertaining as it is a dizzying experience.
Adopted from the streets as a boy by the Persian king, Dastan (Gyllenhaal) – although he is not of royal blood – has been raised just the same as the king’s biological sons Garsiv (Toby Kebbell) and Tus (Richard Coyle), who is next in line for the royal throne.
Disobeying his father’s wishes, Tus commands the Persian army to raid the Holy City of Alamut when he receives word from his uncle Nizam (Ben Kingsley) and his spies that the city is supplying weapons to Persia’s enemies. To make amends for their betrayal against the Persian king, Tus claims Tamina (the breathtaking Gemma Arterton), the Princess of Alamut, as his wife. It’s a short engagement, however, before the king arranges her to marry Dastan instead.
But when Dastan is framed for the murder of his father – an incident he has no motive for, but makes matters worse by fleeing – he and Tamina team up out of necessity. Now running for their lives through Persia, the duo must survive long enough to find the king’s real killer and, of course, fall in love. Mixed into the absurd narrative is a magical dagger, which possesses the power to send people back in time.
Don’t attempt to break “Persia” down any more than you have to. That would surely defeat the purpose of a Bruckheimer-produced film. The less brainpower used on the CGI-heavy fantasy, the more likely you are to appreciate its kitsch. In this instance, however, dumbing down “Prince of Persia” into gawky scenes of swordplay, romance and unintentionally funny anachronistic dialogue shouldn’t be enough reason to give Bruckheimer a blessing to fund another pointless journey into another of these sand traps.