Samuel LoveCharles Dickens is, almost certainly, one of the most adapted-for-screen authors in literature. There’s been over 100 versions of A Christmas Carol alone, although I think we can all agree that it wasn’t really worth trying again after 1992’s definitive take by The Muppets. But one of Dickens’ works that hasn’t done anywhere near this number is the book he wrote for his children about the life of Jesus Christ – The Life of Our Lord, published in 1934, 64 years after his death. Dickens asked that his family never publish or release this simple retelling of ‘the greatest story ever told’, insisting it was only for him to read to his children. The King of Kings, the new animated film from Angel Studios, loosely adapts this work by fascinatingly framing the story as one of these occasions.
After humorously opening with the iconic cemetery climax of A Christmas Carol, we join Charles Dickens (Kenneth Branagh) in the middle of one of his famous public readings. After being interrupted on-stage by his young, toy sword-wielding and overly imaginative son Walter (Roman Griffin Davies) and his boisterous cat (Dee Bradley Baker), Charles chastises his son for his behaviour and obsession with the mighty King Arthur, knights, and fantasy. Encouraged by his wife Catherine (Uma Thurman), Charles must bond with his young son by recounting the story that he says inspires all other tales of Kings – the story of Jesus Christ, the titular King of Kings.
This approach certainly adds something fresh to the tale. “This project is a unique confluence of classical literature, imperial Roman history, and the New Testament”, says star Sir Ben Kinglsey. “And to bring them together with a clarity and an authority to reach a wide audience is a combination of three fabulous ingredients”.
What follows is a fairly simplistic journey through the story of Jesus (Oscar Isaac), from birth to crucifixion, with all the greatest hits touched on – walking on water, the sharing of bread, healing the blind, etc. What makes this take unique is the Dickens touch on the story and the interactions with his son throughout the retelling; Walter will often interrupt to ask questions – to help younger audiences with the story’s meaning, primarily – while the story comes to life around them. It’s a very accessible film with a focus on storytelling in its most traditional form; all the action is narrated in a way that will allow young audiences to easily follow the story.
The voice work is pretty impeccable across the board with a ridiculously stacked cast – alongside the above, there are roles filled by Pierce Brosnan, Forest Whitaker and even Mark Hamill as King Herod. But the film belongs to Oscar Isaac, who delivers a wonderfully gentle and understated performance befitting the role.
Visually, The King of Kings is rather gorgeous – the film is beautifully rendered and boasts wonderful colour and lighting, with some stunning texture and a lovely fluidity to the flowing robes and hair. There are some sequences that use different animation styles – brief asides explaining Passover and the Adam & Eve story, for example – that keep the film feeling fresh and exciting as well as visually sumptuous. The film has a distinctive visual identity which feels lovingly crafted and full of life, and will certainly be compelling to its younger target audience. And that target audience is pretty key. The Passion of the Christ this ain’t; The King of Kings is a very sweet, soft film that is far more focused on Christ’s teachings and message than the violence and dark side of the tale.
I’m personally not of faith, but I found The King of Kings to be pretty darn charming. The film is full of wonderful performances and gorgeous animation, and offers a simple retelling of the so-called ‘greatest story ever told’. It may not ever join the pantheon of the finest biblical epics or indeed the best Dickens adaptations, but there’s a lot here to enjoy – particularly for young audiences.
In cinemas April 11 – book tickets at thekingofkingsfilm.com
