Yet the deeper the chase goes into the rain forest, the more the home-court advantage swings to our hero.
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The movie turns into a much more conventional chase movie, with Zero Wolf and his gang racing through the jungle to hunt down and kill Jaguar Paw. Then, suddenly, thanks to divine intervention by solar eclipse, Jaguar Paw escapes his captors. The freshness of this world, nothing like it having appeared on film before, captures our imagination. And so it goes down to the smallest role, even a busybody mother-in-law instantly recognizable to many a suffering contemporary husband.įor the first 85 minutes, we along with the captives are dragged into a world of chaos and confusion on this frightening, arduous journey. His villainy is trumped by his sadistic underling Snake Ink - don’t you just love these Jacobean names? - played by Mexican actor Rodolfo Palacios with zeal. New Mexican actor Raoul Trujillo makes a sturdy foe as the warrior leader Zero Wolf, who captures Jaguar Paw and his mates. Dalia Hernandez, a Mexican dancer and student, has a lovely face that catches the terror of Jaguar Paw’s pregnant wife, who is left behind in the village well that first protects, then traps her and her child.Ĭanadian Jonathan Brewer plays comical sidekick Blunted, who is the butt of every joke. All the actors are American Indians, and the astute casting is arguably the best thing about this movie. The central figure is family man Jaguar Paw (played by Rudy Youngblood), an expressive, charismatic American Indian with considerable athletic and thespian skills. There the men meet their fate atop a pyramid where they are painted blue, draped over an altar stone for an obsidian knife to plunge into the chest and rip out the heart with surgical skill, the heart going into a fire, the head chopped from the body and the corpse flung down the steps to the cackling glee of the assembled townsfolk.
Men and a few women to be sold as slaves or concubines are brutally tied to long poles and marched through the rain forest to the Mayan city. Then the village is attacked by marauding mercenary warriors from the capital looking for sacrificial victims to assuage the gods for a drought and plague. We are in a tranquil rain forest where a small community of hunters and baby-makers live in ecological harmony with a nature that provides animals to slaughter and food to gather. The movie opens as the Mayan civilization is in its death throes, though no one knows it. To his credit, there is never a dull moment. “Apocalypto” might not reach the $600 million worldwide grosses of “Passion,” but it will attract a considerable international crowd. Gibson’s well-publicized personal problems, the film’s eye-catching key art and critics calling him a sadist probably add up to money in the bank for the Walt Disney Co.
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The guy knows how to make a heart-pounding movie he just happens to be a cinematic sadist. In other words, in the good Hollywood tradition, it’s got a hero, villain, damsel in distress, exotic natives and breathtaking vistas that evoke feelings of awe and dread. This is no cheesy exploitation movie, though, but a first-rate epic built around one man’s will to survive to rescue his family.
Men hunt men, rape women and sacrifice victims by tearing hearts from quivering bodies with joyful ferocity. They ignore its advances in urban planning, mathematics, art, astronomy, agriculture and writing systems to dwell on its utter barbarity. In “Apocalypto,” Gibson and co-writer Farhad Safinia turn to the Mayan civilization that dominated present-day Mexico and Central America from 2400 B.C. Whatever spiritual messages devout Christians took from 2004’s “The Passion of the Christ,” its violence was pornographic. But Mel Gibson’s career as a film director is becoming one long essay in human cruelty through the ages. LOS ANGELES (Hollywood Reporter) - It really began with his “Braveheart” more than a decade ago, though no one really noticed then because it obeyed all the conventions of a big Hollywood epic, albeit a very violent one.
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