Taking elements from two decades’ worth of Prince of Persia games, Bruckheimer and his huge creative team has crafted a rollicking action film that rings true to the spirit of the games. Certainly, all the elements of the series are here: a Byzantine political intrigue set in Persia and the sands of time that fuel the dagger of time. Even the game’s platform mechanics are reworked as the highly athletic parkour that Jake Gyllenhaal (as the titular Prince of Persia) employs throughout the movie’s action sequences, battle scenes, and many chases.
One thing I admire about Prince of Persia is how it doesn’t really take itself seriously, and ends up having lots of fun. Take its premise, which is presented with a wink of an eye. The Persian army conquers a defenceless city on (trumped up) evidence from (unreliable) intelligence reports that it harbours (non-existent) dangerous weapons of mass destruction. Now, where’s Dr Hans Blix when you need him? Don’t worry, it’s all part of a very convoluted plot by a person or persons unknown to usurp the throne of Persia, which will undoubtedly be uncovered and foiled by Jake Gyllenhaal and Gemma Arterton (as the princess of the city).
But that’s if they can survive their mutual distrust of each other (cue Romancing the Stone style comic and romantic bickering), a reward for the head of the prince, the unwelcome attentions of a dodgy entrepreneur and cut-throat (Alfred Mollina), and ruthless assassination attempts by the cult of the Hashshashins. And that’s also if Jake Gyllenhaal doesn’t miss his footing while doing all that parkour.
Like Pirates of the Caribbean, Prince of Persia is a very silly movie that exults in its silliness. The cast play their lines not unlike a comic ensemble, with Ben Kingsley (complete with guyliner and evil goatee) and Mollina enjoying their cheesy characters. The action scenes are quite a sight to behold (though I only wish they could have perfected the action choreography by hiring Yuen Woo-ping), while the comic aspects deliver easy laughs.