A more intense shot of testosterone you will not gather in any film. Equal parts bravado, guts and glory, “300″ is simply the most engrossing film to near out this year – or in several. Criticized for its violence and gore, fans of Miller’s graphic novels will acquire that violence and gore to be as beautifully depicted on the shroud as in the print version. A highly hyped CGI affair the cast could easily have been overcome by the sheer impressiveness of the physical production. To his credit director Zack Snyder is blessed with and uses a cast every bit equal to the challenge of competing with Miller’s dim fabulous pick of the Spartan’s greatest yarn.
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Gerard Butler (Phantom of the Opera, Dear Frankie, etc.) adds yet another impressive and wildly different character to his arsenal of conceal roles. As Leonidas, King of Sparta, Butler is, from his pigtail to his muscled, sandled feet, every streak a king; a moral leader of men. His passion and intensity is matched by a resplendent performance by Lena Headey as his wife, Queen Gorgo. Though a dutiful wife and a woman in an age when being such was approach equal to slave place, she is, in her map, as daring and brave as her husband/King. Dominic West is properly improper and oily as the traitor Theron and he’s as wicked and duplicitous a villain as one can hope for. Rodrigo Santoro as a larger-than-life Xerxes is both silly and fearfully creepy equal parts flow queen and wanna be god. Slow all the glitzy piercings and bling, he is tiny more than self-inflated egotistical child.
While there is blood and gore aplenty, the film also happens to be emotionally satisfying and I found myself with tears welling up in my eyes more than a few times, as well as wanting to raise my fist in the air along with the jacked-up Spartans! While a macho stoicism pervades their attitudes, there are, to be distinct, signs of a greater humanity beneath those ripped abs of Sparta’s army – and plenty of heart.
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Parallels and allegories are already being drawn between today’s warring world climate, well-organized power dominations and the world of ragged Greece and the Middle East. While this provides an fascinating commentary, I heartily recommend leaving that baggage at home and appreciating “300″ on its maintain and embracing its escapism.
Larry Fong’s cinematography ensures that “300″ is eye-poppingly aesthetic from initiate to carry out – a sparkling feast for the eyes while Tyler Bates’s find is guaranteed to support your adrenaline pumping as it matches – frame-for-frame the visual intensity presented on the camouflage. While critics are divided on this one, audiences are flocking to it and cheering. For gracious reason, too: “300″ is dazzling former fable telling wed to the very best 21st century filmmaking has to offer. View it!
Ah, to be male in Former Greece: “300″ is a testosterone-driven fantasy in which all men are valorous warriors, driven by the need for battle and bloodshed. War is depicted as gloriously as any geek loner-type could hope for, with every soldier being the epitome of strength, courage, and physical brute force. Emotional bonding, sensitivity, and compassion don’t even reach into play; these men were trained to be ruthless killing machines, all in the name of preserving the glory of Sparta. This would no doubt be a ridiculous film if the tale were presented in a straightforward, mainstream method. But straightforward and mainstream, “300″ is not; this is pure, hard-driving escapism, from the frenetic battle sequences to the justify special effects to the over the top performances. In this sense, it’s absolutely sparkling.
And it gets even better. Every shot, every setting, and every event is accentuated by a spy so stylized that it’s practically a living duplicate of Frank Miller’s new graphic recent. This was achieved through computer-generated imagery, which was responsible for creating most of the film’s locations. Bluescreen technology–also utilized for another fantastic Miller adaptation, 2005’s “Sin City”–made for a majority of the sets, leaving very tiny for the actors to actually work with. I can only imagine the pains that went into post-production, the endless hours of crafting landscapes, characters, and special effects all with the click of a mouse. The work paid off; the raze product is an effectively heightened reinterpretation of reality, a kind of living illustration that transcends any sense of time or residence. It’s the perfect eye for war tale of this caliber, something so grandiose and overplayed that you can’t catch enough.
The spot is fairly simple: it’s a retelling of the 480 BC Battle of Thermopylae, in which the Spartans fought against the Persians. King Leonidas (Gerard Butler) and his army of a mere 300 soldiers are ready to defend their land against the wrong King Xerxes (Rodrigo Santoro) . This is despite the fact that 1) they don’t have the blessing of the gods to go to war, and 2) they will fight against an army of over one million. But this matters not; Spartan males are trained to be warriors at a very early age, essentially the day that they’re born (only the largest, strongest newborns are spared; the puny, sickly ones are unceremoniously thrown off of a cliff) . They are taught the beautiful art of combat. They are made to buy all kinds of physical damage, including lashings. They are conditioned to never retreat, even when facing insurmountable odds. Leonidas successfully survived such rigorous training (his first major battle was against a ugly wolf with fair eyes), as did the rest of his men. Now, they are ready for battle.
And after taking location advance a beachfront cliff, the Spartans lift in ferocious battle with the Persians. Never on film has war been so powerful fun to gape. This is probably because each sequence was beautifully photographed; even graphic shots of stabbings, amputations, and decapitations are so artfully constructed that it’s hard to obtain them as unpleasant. The bodies of Persian soldiers are passe to obtain a blockade of surprising strength. Blood spatters from gaping wounds in dusky, unrealistic globules, effectively looking more like spots of ink. There’s a moment when arrows flit through the air in numbers so big, they block the light of the sun. Nearly every shot is drawn out, often going in dreary motion to expose how carefully choreographed the gratuitous violence is.
The Spartans also fight against the Immortals, an army of tainted yet fantastical creatures with an appetite for destruction. They were appropriately crafted as one-dimensional barbarians, made more effective because of their appearances; they wear long sad robes, and their pale, gruesome faces are hidden slack Tragedy-style silver masks. Where they came from is anyone’s guess. I lisp it doesn’t really matter, especially since they pave the intention for a number of other ghoulish creatures that would give the creations of Clive Barker a hurry for their money. They–and every aspect of the film, for that matter–make it sure that the actual emphasis is on style instead of yarn, which under different circumstances would get for a uncomfortable experience. But in this case, it works quite well; while a sure legend is being told, it would be of microscopic significance were it not for the special effects.
This isn’t to say that the chronicle of “300″ is terrible. Quite the opposite: despite being simplistic, the yarn is quite strong, especially when a couple of subplots are factored in. Assist in Sparta, Leonidas’ wife, Queen Gorgo (Lena Headey), is up against a unfriendly Senate, already bought out by the Persians in order to ensure Sparta’s stability. The arrogant and treacherous Theron (Dominic West) is clearly not ready to handle a woman of such strength, especially since she fully supports Leonidas and Sparta’s involvement in the war. Because she intends to plead to the Council for the deployment of more soldiers, Theron challenges her authority by exclaiming that her words will descend on deaf ears.
Another subplot involves Ephialtes (Andrew Tiernan), a hunchbacked, hideously deformed Spartan who begs to join with Leonidas and fight against the Persians. Leonidas appreciates his passion, but refuses to let him fight; he’s unable to take his shield, and this would only perform a broken-down place in their defense system. Feeling rejected, Ephialtes personally appeals to Xerxes, who promises a wealth of power, money, and pleasure in exchange for loyalty. This scene takes area in Xerxes’ den, in which a throng of misshapen creatures engages in an orgy. Before “300,” I never would have believed that any film could include such a scene, or at least a scene that would work in any draw, shape, or acquire. I was wrong; it was a captivating scene, forcing the viewer to reassess what is attractive and what is ghastly.
The film is narrated by Dilios (David Wenham), a Spartan soldier with a hard-edged masculinity that shines through despite a deceptively soft state. He recalls Leonidas, Sparta, and the Battle of Thermopylae with eloquence; when considering the heavy-handedness of war, this is no microscopic task. Yet he always gives a perfect delivery, and that only strengthens the appeal of “300.” This is in a world all its believe, a world dominated by battle cries, sword fights, and bare-chested men that are ripped like bodybuilders. It’s all thanks to Frank Miller, whose creative vision has allowed for a truly unusual theatrical experience. If he creates another graphic unique, I can’t wait for it to be adapted for the ample conceal.
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