The English make some of the best slaves - even before Shakespear, even in the eleventh century. And most especially for the children. They inculcate the superior attitude and are generally blissfully patient and sublimely ignorant. They have the widest eyes and the easiest laughs. Take Prince Dustan as the example. He went from runaway slave to prince by staging a passion play before the Shah. He never looked back. He taught the greatest army of Assassins English. How you ask? Within an enlightened empire, slavery is basically a pg-13 movie. So long as life's too skillful to bleed, romance too complicated to consummate, and evil's sleepless but incredibly unlucky, the hero entertains. Just so Gemme Arterton continues to elevate the British Field Agent to comedic heights. Her stoic and bickering Princess of Alamut elevates the sporting English slave to clever sacrificial pawn and chessmaster par excellence. Together, the pair of English slaves circle each other :
he - 'lift the lever'
she - 'give the dagger'
he - 'lift the lever'
she - 'give the dagger'
he - 'lift the lever'
she - 'give the dagger'
And all without yelling, screaming, or singing. Indeed, the repetitious nature of 'give the danger' writing made famous by hollywood's fools inflicts upon the richest of languages a search for silences of greater paradox than their millennia of existence in amusing vanity. Sasha Baron Cohen is but last victim of this gay and sometimes disastrous fashion.
Dustan, the English master of Nasaf, is like many Uzbeks, accomplished in engineering, the physics 'Newtonian,' and guessing ('statistics'). Of course he is most able bodied. Like his father, the Shah, he is a philosophical master and believes in giving weapons to his enemies. The Shah is a man of note : 'You must have more than implicating evidence to occupy a holy city.' English has problems with 'holy' or 'sacred.' One may easily define 'holy' or 'sacred' as 'vastly implicated,' or 'permious,' though most prefer, 'meaningful beyond hypocrisy.' Accordingly, Dustan is encouraged to be more than 'good,' but 'great,' meaning, 'statistically good' rather than just tragically good. The rest of the film follows the search for a weapon of mass destruction that would unleash an end to sand storms with something like a giant underground bomb.
So Dustan transforms from a meek English teacher -
example #1
Dustan - 'Cousin, your hand's on your sword again.'
Cousin - 'Where it should be!'
...
example #2
Dustan - 'I didn't kill father; I wouldn't do such a thing.'
Nizam - 'Your actions would say otherwise.'
- to an English teacher worthy of slow motion photoptic wizardy -
Dustan - 'A king listens to the advice of his council but always listens to his heart.'
Dustan - 'You had what every man could ever dream of having: respect and family but that was not enough... (you alone deserve death!)'
Some may object to the idea of allowing meager slaves to keep the power of the annihilation. The English are too repetitive and do not understand the changeable nature of things. They believe silence, confusion, and desperation to be the greatest solutions for ignorance. Perhaps, but they continue to consider Australia as their fate and noone else's. No English could attempt using the sands of time before falling off Australia. They are interested in carbon storage more and more.
In closing, the making of sand akins the brewing of water. Water is big business. Sand it seems is not. Ah ha, so you see Mike Newel, baking sand is and always was big business, very good. You achieved in crafting a fine movie for children who are in ignorance of boogie men and victor's demise but strangely not yellow cake.
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