“They are an army unlike any other, crusading across the
stars toward a place called UnderVerse, their promised land, a constellation of
dark new worlds. Necromongers, they're called. And if they cannot convert you,
they will kill you. Leading them: the Lord Marshal. He alone has made a
pilgrimage to the gates of the UnderVerse... and returned a different being. Stronger. Stranger. Half alive and
half... something else. If we are to survive, a new balance must be found. In
normal times, evil would be fought by good. But in times like these, well, it
should be fought by another kind of evil.”
-
Introductory voice-over narration, The
Chronicles of Riddick (2004)
Following the box office success of Pitch
Black (2000), writer/director David Twohy was afforded the opportunity
to construct a big-budget franchise around the film’s break-out character: Vin
Diesel’s anti-hero, Riddick.
In 2004, The Chronicles of Riddick -- a sort of
“Riddick meets Dune” re-vamp of the Riddick-verse -- was released to mixed
critical reviews and middling box office.
Heavy on CGI landscapes and quick-cut fight sequences The
Chronicles of Riddick undeniably proved imaginative and ambitious…perhaps
to a fault.
A decade later, the film’s extensive special
effects appear highly-dated, and one can also detect how the film shoe-horns
two good stories together, even though, perhaps, they should have remained as
two separate chapters. One story
involves Riddick’s escape from a burning planet called “Crematoria” and the
rescue of a friend, Jack, while the other involves his interactions with a
malevolent cosmic army the Necromongers, and unexpected ascent to the empire’s
throne.
Each story in its own right would have made a
great second Riddick picture, but The Chronicles of Riddick often
experiences trouble finding the right balance between them, and erects too vast
a “mythic” architecture around Riddick.
No longer is he merely a gifted and clever
outlaw. Instead, Riddick is the subject
of sacred galactic prophecy, and the man who can save the universe from slipping
into perpetual darkness. Riddick thus carries more weight on his muscular shoulders
than Atlas himself, and there are times in the film when it’s all too much. Choosing one story (and saving the next for a
sequel) would have streamlined the movie and resulted in a more appealing,
cohesive sequel.
When I first screened The Chronicles of Riddick
in theaters, I felt profoundly disappointed with it, feeling that the film was
over-stuffed and over-burdened in terms of “world building” and
mythology-building. What I had connected
with so deeply in Pitch Black was the simple idea of a man surviving an inhospitable
planetary environment and eco-system using his wits, and his own code of
morality. The Chronicles of Riddick
features moments that reflect that particular (original) aesthetic, but
everything has been made so grand and “galactic,” that much humanity is lost in
the process.
Watching the film again for this review, I
must acknowledge that I enjoyed and appreciated The Chronicles of Riddick much
more than I had before, while still feeling that Twohy had
miscalculated somewhat in terms of approach.
Riddick is Riddick, and he can thrive or
survive anywhere. He doesn’t need to be “The Chosen One” or the messiah for
audiences to feel interest in his adventures. Yet today, I can also detect how The
Chronicles of Riddick -- released in 2004 -- meaningfully reflects its
War on Terror Age context. The film
involves a group of fundamentalist radicals, so called “World Enders” that have
hijacked “established” civilization (think Iran, or Iraq) for belligerent
purposes. This subplot is pretty clearly
a metaphor for radical Islam.
Also -- and
I never picked up on this element before -- one of my very astute readers
here, blogger Roman J. Martel, noted in the comments section of the Pitch
Black review that my description of Riddick reminded him “strongly” of
Robert E. Howard’s vision of Conan.
Roman’s insight is doubly true of The
Chronicles of Riddick.
Much of the mythology that comes to surround
Riddick in this sequel feels like a space age variation on Conan’s mythology. Many details match, or at least line-up. That
insight and literary context from Roman actually brings new luster to The
Chronicles of Riddick, and makes the film much more intriguing to
discuss and debate.
So there is plainly more in The
Chronicles of Riddick than I saw in 2004, even while some of the film’s
flaws have not been ameliorated with the passing of a decade.
“There's gonna be one speed: mine. If you
can't keep up, don't step up. You'll just die.”
On a planet consisting only of ultra-violet
light, the bounty hunter Toombs (Nick Chinlund) attempts to capture the escaped
convict Riddick (Vin Diesel), who has not been seen in five years. Riddick promptly kills Toombs’ crew, strands
Toombs on the planet, and steals his ship.
Riddick learns that the man who put the price
on his head lives in New Mecca, in the Helion System. Specifically, his old friend, the Imam (Keith
David) is responsible for the bounty. As
the Imam -- now a husband and father -- reports to Riddick, the highly-advanced
and civilized planet is under threat of invasion from an army of militant
religious zealots called “Necromongers.”
Because Imam knows the story of Riddick’s
birth -- that he was nearly strangled to
death with his own umbilical cord and left for dead in a dumpster -- he suspects
that the convict may play a role in the prophecy of the Necromongers’
destruction.
Specifically, it is known that only a Furyan
can destroy the Necromongers’ Lord Marshal (Colm Feore). So the Imam sent
Toombs to retrieve Riddick, and share this information.
Riddick refuses to take sides in the conflict,
but when the Necromongers swarm the planet, and kill the Imam, he fights the
Lord Marshal and his soldier tooth-and-nail.
Like all the people of New Mecca, Riddick is given a simple choice by
the invaders: convert or die.
Riddick escapes from custody, and allows
himself to be re-captured by Toombs, in hopes that the bounty hunter will take
him to Crematoria, the prison world where his old friend, Jack (Alexa Davalos)
has been reported incarcerated.
Toombs complies, and Riddick is dumped in the
subterranean “slam” on Crematoria, a planet with an inhospitable, charred
surface. Riddick and Jack are reunited,
but she now goes by the name of Kyra, and holds a grudge against Riddick for
abandoning her five years earlier.
Riddick counters that he went into hiding so all the mercenaries gunning
for him wouldn’t endanger her.
Putting their differences aside, Riddick and
Kyra engineer a jail break to the fiery surface of the planet, even as the Lord
Marshal’s top underling, Vaako (Keith Urban) arrives to bring Riddick back to
Helion.
But Vaako and his manipulative wife (Thandie
Newton) are enmeshed in courtly politics, and believe that Riddick is the key
to ridding the Necromongers of the Lord Marshal once and for all. Using Riddick as his assassin, Dame Vaako
hopes to install her husband in the Lord Marshal’s place.
“We
all began as something else.”
In very basic terms, The Chronicles of Riddick
involves an invasion of a highly-civilized planet by fundamentalists that want
to either “convert or kill” all
sentient beings. There is no negotiation
with these violent radicals, either. You either become one of them, or you are
destroyed. Concepts such as democracy,
education, and civilization mean nothing to these theocrats. They care only for their draconian faith, and
their (promised) ascent into another realm, the UnderVerse.
Very plainly, the Necromongers are meant to
represent the Taliban, or other radical Islamists who had declared war on the
Western world in the first decade of the 21st century. Like the
Necromongers, these radicals practice a restrictive, draconian faith, and claim
that their (violent) actions in this reality will meet with a reward in the
after-life.
This real-life context is reinforced in The
Chronicles of Riddick via the setting of the planet Helion and the city
of New Mecca.
Specifically, there is a distinctive Middle
Eastern design to the visualization of the Imam’s planet. New Mecca looks like it
could be a space-age Tehran, or even Baghdad -- on Earth, once the home of the Islamic Golden Age -- before the
fever of religious radicalism takes hold. In short, a planet of reason,
technology and democracy falls to tyranny.
All the progress towards a just and fair society is lost.
The Necromongers are terrifying for the same
reason that radical Islam is, in my opinion.
Imagine spending generations arduously lifting your culture out of
ignorance, fear and superstition through the development of science, education
and social justice, only to see a military coup which knowingly reinstates all
those vices.
Welcome to the New Dark Ages…
In my introduction, I mentioned the stories
of Conan, and The Chronicles of Riddick also offers some unique parallels to
that character’s life as it has been depicted in both literary and film form.
In particular we learn that Riddick comes
from an extinct planet called Furya.
Conan is, likewise, a Cimmerian, another survivor of a dead and gone society.
Furthermore, in both Conan the Barbarian
(1982) and The Chronicles of Riddick, we learn that a religious cult
leader (either Thulsa Doom or the Lord Marshal…) is directly responsible for
the death of the hero’s parents. Thus,
the life-time quest for that hero -- although
he doesn’t know it, initially --
is to avenge his parents’ deaths and vanquish the war lord.
Similarly, Riddick and Conan have both
functioned, throughout their narratives, as occasional thieves and outlaws. But
they boast one other vocation in common, and it is of vital significance.
They are both kings.
During the denouement of The Chronicles of Riddick,
Riddick assumes, uneasily, the Necromonger throne.
Similarly, in Howard’s mythology (and we see
the image briefly in Conan the Barbarian…), Conan also
usurps the throne of an enemy. He replaces
the tyrant of Aquilonia and becomes that kingdom’s ruler.
In terms of fantasy settings, The
Chronicles of Riddick and Conan may even have something else
in common: they are both set in a kind of baroque “mythological” age rather
than an historical one. Conan’s
adventures are set in the long-gone -- and fictional -- age of Hyboria, and The
Chronicles of Riddick is set in a distant future epoch.
One other inspiration also helps to lift The
Chronicles of Riddick above its over-used CGI and chop-suey cutting: the
works of Shakespeare.
Vaako and Dame Vaako are very patently
futuristic versions of MacBeth and Lady MacBeth. Like their literary predecessors, these
characters ambitiously scheme to control the kingdom, and eliminate the
rightful ruler, whether King Duncan or the Lord Marshal.
As befitting MacBeth’s characters,
Vaako is the conspirator with doubts and some residual sense of loyalty. And by
contrast, Dame Vaako is the one with murderous certainty. Part of the reason that the Necromonger
sequences work at all here is because of this Shakespearean dynamic made fresh.
The underlings of the Lord Marshal could
have been fairly anonymous or lacking in definition, but the MacBeth “homage”
adds resonance in a most welcome fashion.
Finally, I also appreciate the welcome visual imagination of The
Chronicles of Riddick.
The opening scene set on Planet U.V. is visually-distinctive, and the escape from Crematoria
is, perhaps, the film’s adventure high-point.
In the latter case, a group of survivors flee
across a desolate planet surface as walls of treacherous fire encroach on
them. When Jack becomes trapped on a
mountain peak, Riddick must brave the scorching fires to pull her out of mortal
danger. It’s all pretty exciting, and
dynamically wrought.
In space operas like Star Trek, Dune, and Star
Wars, audiences have seen again and again the desert planet, the ice
planet, and so on, but The Chronicles of Riddick tries hard
to mix things up a bit with its unusual (and dangerous) planetary environments,
and that’s certainly a point in the movie’s favor.
My deepest concern about The Chronicles of Riddick
has always been the fact that a great (and Carpenter-ian…) anti-hero is
ret-conned into being a sort of “Chosen One” on a heroic quest. The comparisons to Conan’s story help
ameliorate that concern to a large degree, it’s true, but the thing I’ve always
liked about Riddick is that he seems like a very “in the moment” kind of
character; one who measures his situation and his options, and acts according
his moral code.
Somehow, knowing that Riddick is the “instrument
of fate” as it were diminishes some of his virtues. He has been “ordained,” in other words to be
special, because of his unique heritage….not because of his experience. I suppose I just like my Riddick movies lean and
mean, and without all the pretensions to grandeur. I like the character as a bad-ass…I don’t
need him to be a mythology-fueled, supernatural bad ass.
In terms of production design and imagery, I
love the concepts of The Chronicles of Riddick, but
dislike the execution. I fully realize that CGI is the preferred mode for
visualizing other worlds at this juncture in cinema history, and will be for
the foreseeable future. But there’s so
much CGI in The Chronicles of Riddick that your eyes don’t always know
where to look, and they nearly get burned out by the over-stimulation. When absolutely every edifice is colossal and
baroque, nothing really looks impressive or stands out anymore. Instead, it all looks kind of…flat.
Similarly, the fight scenes in the film have
been turned into nonsensical hash. The quick-cutting ruins any sense of rhythm
or momentum, and instead, we’re just watching sheer spectacle: (beautiful)
bodies in motion. In these fights, men
and women defy gravity (courtesy of wires), but we never really know how or why
they do so. In conjunction with the CGI
overkill, the editing approach for the fight scenes creates a sense of distance
from Riddick.
And so while I remain authentically impressed
with the real world War on Terror context and the Conan influences in The
Chronicles of Riddick, I am also disappointed by the film’s colossal-ness,
to coin a term.
The one quality I sought most in a Riddick
sequel was to re-connect with the character emotionally. Riddick has some great
lines of dialogue here, and Vin Diesel still moves great, but all the
world-building around Riddick keeps us away from getting as close to the guy
and his struggles as perhaps viewers would like to be.
Pitch Black
was thrilling, spectacular, and most importantly, intimate. The Chronicles of Riddick is….spectacular
on a whole other level, but often at the expense of intimacy.
Next Tuesday: Riddick (2013).
A couple comments:
ReplyDeletePlease note that an awful lot of the armour worn by the Necromongers is copied/based on the works of Filipo Negroli, a 16th century Milanese armourer known for his grotesques. Note especially the breastplate with the embossed eyes. I believe that at least some of the prototypes for the armour were made by Ugo Serrano, whose own work is fantastic is every sense.
Also, there are people who complain that there hasn't been a Warhammer 40,000 movie made. I'd put forth that CoR IS that movie. If you look at the look of 40K, you'll see an awful lot of the same design: grotesque and baroque sensibilities, etc. The Lord Marshal might nearly be the Emperor, and the Underverse may as well be the Warp.
Well John thanks for the shout out! Glad I was about to add a different perspective to the film (and series). Your reviews are making me to curious to give these flicks a spin. I've had a couple other folks tell me "Pitch Black" and "Riddick" were both worth checking out. But I'd be willing to give this movie a watch too. The production design looks impressive, even if it is a bit opulent. Looking forward to your next review of the series.
ReplyDeleteHi Roman,
DeleteYour insightful comment was the key to unlocking The Chronicles of Riddick, in a very meaningful way. It opened up what is, I think, a fresh and legitimate way of understanding the saga (as a space-age Conan...).
I appreciate you bringing your clear-headed and smart thoughts to the review, because they really helped me gain a better feel for the saga. I loved the third Riddick movie (which I review next week), so I would definitely recommend checking out the saga!
Cool site. I really liked your comparisson betwen Riddick and Carpenter/Conan here and in other articles. Nice spot. But...
ReplyDeleteThe Necromongers are the TALIBAN? WTF!?
Now, im not gonna go into politics and history here although i am veeeery tempted. Discussing these things on the internet is never wise, so lets just say that i have a very different OPINION on the subject than you and end it there.
But on the face of it, when you LOOK at the movie, how is it possible to draw that kind of parrallel? And not the exact opposite?
I mean... The Necros are an EMPIRE that INVADES other worlds and BOMBS the sh!t out of them. They didnt use guerilla hit and run tactics on New Mecca, they just DESTROYED the place. Using aerial bombardment. Then they came down and started rounding up the surviviors and giving them speeches about the benefits of their WAY OF LIFE. So clearly - its the Taliban! OK...
If anyone in this movie qualifies as the Taliban its our band of heroes led by Osama bin Riddick, the most wanted criminal in the Galaxy... Chased by an unstoppable military force, using stealth to sneak into the heart of the Empire and deal a single decicive strike... In the first movie when running from a similar unstoppable military/monster force they even hide in a cave... So clearly...?
I dont think the director intended for this movie to be an allegory for anything really. Its just a fun movie. But that doesnt stop you or me from giving it meaning using our imagination. Nothing wrong with that. But come on... WHAT THE SH!T as Toombs says/
Anyway im only typing this because im a BIG Riddick fan and i really liked your other Riddick related insights. They made sense. But not this