Review: “The Forgotten Kingdom”

A beautiful journey that deviates too often from its own path.

Some of the more attractive (and controversial) elements of a Terrence Malick film are the ones associated with mysticism and spirituality. Actually, they are THE elements of a Malick movie. Every scene he has ever cut has some sort of “higher calling” woven into its fabric; it’s as if he’s getting closer to heaven with each project he completes. I acknowledge that this has become a joke to many (one that isn’t entirely uncalled for), but I don’t laugh. Call his work pretentious all you want, the man at least goes all the way. His movies always feel as smooth as the narrations sound.

It’s to be expected that a generation of filmmakers will try to replicate or spin this style, and it’s a given that many won’t have the confidence or skill to follow through completely.

The Forgotten Kingdom is a casualty at the cross-section of inspired style and timid editing. It’s really unfortunate, as the story is engaging…once it gets going, anyway. When his father passes away, young Atang sets up a funeral at his family’s old home town, away from the convenience of Johannesburg. In the big city, Atang is a hoodlum of sorts, with no respect for anyone, especially not his father. In the rural town of his past, Atang feels out of place, until reconnecting with a woman from his childhood. When she moves unexpectedly, he sets off on a trip through the countryside, where he learns to help others and let go of his hate.

Like with most films about journeys across unknown terrain, Atang is really going further into himself, learning exactly who he is and what he’s made of. On this trip, he is accompanied by a nameless child guide, one that is wise beyond his years AND a smart ass. We see the gorgeous surroundings and listen to the needy villagers along the way. There is talk of curses, witches, monsters and such, all of which become more plausible the more you travel. The atmosphere is thick with introspection and never feels forced. Superb execution here.

It’s simple, but relatable. It’s familiar, but profound. It’s competent, but overloaded. The movie may only be around 90 minutes long, but the story feels bloated. Most of the events before and after Atang’s trip drag and hang. The slow moving pace is fine, but another pass at the editing table would’ve done some good; just because you can present an extended version doesn’t mean you should. While the extra material (which involves the young woman’s story) is compelling at times — and meant to contrast Atang’s arc — the scenes only end up weighing down something already heavy. It is in these instances where the filmmakers drop the ball.

Malick takes time with his films. He’s obsessive but patient. Whole performances will hit the floor if they don’t fit or hinder the goal of the movie. The Forgotten Kingdom suffers from a technicality, despite being technically sound. It has a shining spirit, but a tendency to ramble on. The irony is that the filmmakers made a movie without learning one of the lessons of the protagonist — to let go. Too much of a good thing can be bad. Think about this: Would you really want to see a 6 hour cut of The Thin Red Line? The mind and bladder can only take so much.

2.5 / 5