Most folks in the U.S. have some surface knowledge of Gengis Khan and know that HE IS IMPORTANT. So, there is an audience for a marketing division to tap into. I can visualize Mongol commercials appearing on prime time television every commercial break for two months prior to its release. What's more important, though, is that Mongol has everything that a Hollywood historical epic needs to be successful, appealing to a crossover audience of male and female alike.
Young child being brought to select a bride, but selection process being subverted by proto-feminist bride-to-be, all the more palatable for a modern love story? Oh yeah.
Young child watching his father die? Check.
Same young child vowing revenge? Check.
Blood brothers? Yeah.
Who ultimately become mortal enemies? You better believe it.
Our hero separated from true love? It's tragic.
Being sold into slavery? Yup.
Rescued? Of course.
Reunited with true love? It's fated to be so.
Only to be separated again? Yes, it's unfortunate.
But then reunited? Always.
Epic battles that change the course of history? Hell yeah!
With all of the blood splatters we've come to expect? And more.
But there's still a tender love story? It's tender.
I'm mocking it a bit, but I did enjoy Mongol and I do really think that it could have been one of the greatest U.S. pop movie hits of the past summer, something to rival Braveheart or Gladiator at the box office.
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