Solomon Kane has all the fixings of your typical Sci-Fi/Fantasy middling movie: an aptly laid out foundation with its story and plot revolving around Solomon’s troubled past and his quest for redemption through faith, but higher powers have something much more crucial in-store for him besides living the life of a reclusive holy-man. The casting is filled with another smattering of semi-well known actors, such as Max Von Sydow, Peter Postlethwaite, Alice Krige, Rory McCann, Jason Flemyng, and Mackenzie Crook, but of course James Purefoy as Solomon Kane is stealing the show. I’ve mentioned before in a few of my tweets discussing the movie, that the biggest surprise is the CGI, which goes above and beyond that of your normal low-end fantasy movies. The graphics are astonishingly brilliant with a high-end quality.
My entire motivation for scrawling out this post is that during my re-watch of Kane, I continually keyed in on multiple aspects of a Warhammer-based crossover within Solomon Kane. The movie has an entirely Konrad-Saga type brooding main character who is set in the footsteps of a Sigmarite witchhunter struggling with his new-found faith, tracking down a group of Chaos cultists. It couldn’t fit together any more succinctly and in fact, imagining this to be a Warhammer Fantasy film, actually further fueled my enjoyment.
I would have not been the least surprised to see Solomon bumbled into a campfire of dwarves or run into a squalor of ratmen slinking around the shadows of a decimated town. There is a plague-infested church where the priest’s flock is actually a zombie-esque mob of flesh-devouring monsters. Nurgle anyone? Solomon Kane, or better yet an unofficial Priest of Sigmar, quickly finds himself unwittingly a pawn of a higher power and tasked with cleansing the impure as he seeks to release his soul from the Devil’s clutches. Secretly, he loves the murder and mayhem (he always has), and comes to realize this is his true calling in life. From murderous sea-captain to religious zealot, Solomon Kane needs a contingent of blindly loyal flagellants to makes his character complete. Lo and behold, before his assault on his former home, where the root of evil gained a foothold, he finds just such a squad of willing casualties to bound after him in a true Priest of Sigmar-type fashion.
Solomon Kane has your typical return to origins conclusion with a crisp finish of loose shoestrings being tied tightly together by the sharp end of Solomon’s sword. My concluding question lies with the lines of: Did Warhammer Fantasy and the “Witch Hunter” type character have any real significant influence on the film, since I find the correlations between them so eerily entwined or is it the other way around? Or perhaps my connections are just misguided and hopeful conjectures that Solomon Kane is in fact a Warhammer Witch Hunter film in disguise?