One Night With the King
One Night With the King has lavish costumes, giggling harems, a vast ancient city, huge armies, black riders and blood feuds. But no hobbits.
It’s a talky imitation DeMille: no sex, little action, but plenty of intrigues, treachery and comeuppance.
An adequate cast and competent direction make this the most ambitious Biblical period piece since The Passion of the Christ.
It needed a better script and a Charlton Heston, a magnetic, scenery-chewing leading man. But it has its Yul Brynner. King has charismatic villains aplenty.
The movie was adapted from the Tommy Tenney-Mark Andrew Olsen novel based on the Bible’s Book of Esther. It’s a Jews-in-exile tale of a girl (Tiffany Dupont) who hides her Hebrew identity when she is taken into the harem of the Persian king Xerxes (Luke Goss). Once there, she enchants him with stories of her race and falls for him. Then duty calls.
Hadassah (Dupont) is the apple of her Uncle Mordecai’s (John Rhys-Davies) eye, and adored by her cousin Jesse (Jonah Lotan). That’s before the emperor dumps his queen and decrees that all the fetching lasses in the land must audition for his harem before he leaves to avenge himself on the troublesome Greeks.
And all the boys in the empire are candidates to be palace eunuchs.
So that’s bad news for Hadassah, whose uncle renames her Esther, hoping she’ll “pass.” And it’s worse news for Jesse, who’ll be hitting the high notes from now on.
But wait, there’s back story: an ancient blood feud between the Jews and the Agagites, whom the Jews almost wiped out. Peter O’Toole is the prophet Samuel, who orders that genocide in an opening flashback.
A descendent of the “child-sacrificing” Agagites, Hamen (James Callis) is captain of the palace guards, and bent on avenging his people on the Jews. He’s scheming with a malevolent prince (John Noble of The Lord of the Rings) against a peace-preaching prince (Omar Sharif).
It’s complicated, and the talk-talk-talk scheming clutters up the movie and waters down the impact of Esther’s challenge. Long Bible story short: Xerxes wants revenge on the Greeks, and Hamen figures the Jews could finance that war if they are wiped out and robbed.
“Do not make void what your father’s death has purchased,” Sharif’s Prince Memucan warns Xerxes, who vows to punish the Greeks who killed his invader-father, Darius. Screenwriter Stephan Blinn fixates on the word “protocol,” and fills the dialogue with melodramatic blandishments such as “Prepare to die, Greek lover!”
Dupont has a winsome screen presence, but she and Goss, who looks like something off the cover of a romance novel, don’t really click. The producers have burdened the story with chat, have sanitized the harem and stripped almost all the sexuality (a single double entendre) from the tale.
But to a man, the wizened screen veterans class up the film, with Rhys-Davies thundering the portentous narration, O’Toole going Old Testament on the Agagites, and Noble and Callis lying, cheating, murdering and all but smacking their lips over it.
Filmed at an Indian castle (Rajasthan), with digital vistas added to re-create the ancient capital of Persepolis, this movie reaches for the scale of The Lord of the Rings or The Chronicles of Narnia at a fraction of the cost. It doesn’t quite get there.
The film was produced by the folks who gave us The Omega Code, the genesis of the current religious-film revival, a laughably bad thriller built around prophetic codes. And the director, Michael O. Sajbel, is still best known for his whitewashing of “Born Again” Nixon dirty trickster Charles Colson in Reluctant Prophet.
But their ambitions have done justice to a tale that is tribal history, not a supernatural myth. Esther’s triumph isn’t due to divine intervention. Her humanity and bravery make her a legend, and make One Night worth remembering, 2,500 years later.