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Film review

Casting a sensitive issue for 'Tristan'

A teary-eyed lead actor and a story stuck in the Dark Ages is too much for "Tristan & Isolde" to overcome.

By STEVE PERSALL
Published January 12, 2006

	[Twentieth Century Fox]
	Despite their efforts to stay apart, Tristan (James Franco) and Isolde (Sophia Myles) are driven inexorably together.

One look at James Franco's perpetually misted eyes and we know he's one of the most sensitive Dark Ages warriors ever. No matter how much his brow is furrowed by the romantic and political intrigue of Tristan & Isolde, Franco is a wimp nobody should follow into bed or battle.

It's a near-fatal mistake of casting that haunts Kevin Reynolds' version of the legend surrounding a knight and the future queen of England who loves him. Moviegoers may recall the story inspired John Cusack's sad marionette dance at the beginning of Being John Malkovich. In Franco's case, the puppet is a more effective actor.

That's what can happen when a filmmaker attempts to mold classic literature into MTV-friendly entertainment without revising the entire time. Baz Luhrmann managed it with Romeo+Juliet by updating star-crossed love and war to modern Miami. Reynolds keeps Tristan & Isolde true to its origins to a fault.

Tristan is the son of a respected warrior after the Roman empire falls and Ireland outnumbers the combined tribes inhabiting the British Isles. He is raised as a son by Lord Marke (Rufus Sewell) who wishes to unite everyone against the Irish. An early battle apparently leaves Tristan dead, his body cast away in a boat pyre. However, he survives without a single burn and only minor wounds, discovered on a beach by Isolde (Sophia Myles) and her servant.

Isolde takes one look at Tristan's muscled torso and gives comfort to the enemy through his recovery, never letting him know she's the daughter of Irish king Donnchadh (David O'Hara). After a night of lovemaking, he returns to his surprised kingdom. Tristan doesn't learn Isolde's true identity until he wins her hand in marriage for Marke, and that's when Franco's tear ducts take over.

The former lovers can't resist reuniting, eventually getting careless with their trysts. Marke is livid, but has other things on his mind, like an angry Irish army at his drawbridge. From there, Reynolds' film subsists on a steady diet of flowery pleading and recriminations and, of course, Franco's barely contained saline emotions.

Tristan & Isolde doesn't add anything remarkable to previously strained costume dramas such as King Arthur. The Dark Ages look suitably underlighted and grimy, but a lack of drama to match the surroundings is evident throughout. Sewell's maturity constantly makes him a better choice for Isolde and for the role of Tristan, for that matter. Todd Kramer's work as a conniving king-in-waiting is interesting and Reynolds - forever known as the director who poisoned Waterworld - mounts a few impressive sword and mace battles.

But the whole affair unhinges on Franco's overplayed sensitivity, a pin-up boy giving his teenybopper fans what they want although in a format they'll never appreciate. Maybe he should just slip a note to Isolde: "Do you like me? Check yes or no."

Grade: C+

Director: Kevin Reynolds

Cast: James Franco, Sophia Myles, Rufus Sewell, David O'Hara, Mark Strong

Screenplay: Dean Georgaris

Rating: PG-13; strong violence, sensuality, brief nudity

Running time: 126 min.

[Last modified January 31, 2006, 14:57:45]