The story of heroes is meant to be shared, for how then do mortal, incapacitated men aspire to rise above impositons and restraints? Did Homer record tales of immense emotional drive purely to revolt against the stoicism of classic Greek texts or was it the first time ever the world witnessed a true tale of passion beyond limitations and plausibility? Such tales of uncontainable determination is what myths are made of, whether they speak of Hedonistic Gods who only aim to extract unquestionable worship or whether they follow the defiant, strong willed heroes who rebel against enforced suppression. It is precisely such defiance that elevates the king of Sparta to unfathomable heights, forever etching him in the archives of history as a personification of Strong Will against Supreme Power.
Leonidas, was a Spartan first and foremost, king followed soon. I could draw analogies between the unextinguishable determination he shared with a Macedonian ruler by the name of Alexander, both being relentlessly trained to become kings, both were unparalleled orators save for the Roman Marc Antony( my father's opinion never falters) who could snatch blue ribbon from them and both at some point of time let the fact that they were composed of flesh that could be cut into and blood that could be spilt, slip their hard heads. The crucial difference lies in the fact that Alexander knew not when to stop, he penetrated deeper into the spiral of ambition he created himself until anarchy, conspiracy and bad luck reared their ugly heads. Leonidas was not a ruler who dreamt larger than what was promised by the Greek code. He sought democratic liberalism for his people and despite the p
resence of an heirarchical reign, never made such distinctions obvious. Leonidas chased a promise not a dream.
Spartans were believed to be innate warriors, violent and crass, bold beyond the mind's fancy and skilled to perfection. After all , if you spent your childhood bashing in bones instead of sand, tasting enough blood to forget the taste of milk and taking on opponents ten times your size, there would be very little in the world that you feared. Frank Miller's novel "300" chronicles the battle at Thermopylae, where 300 Spartans refused to let their numeric insufficiencies outweigh their mammoth spirit and legendary strength. I am ashamed to say that i have not read the book, but in keeping with popular culture i have certainly watched the movie. A movie that stirred my deepest emotions allowing for Catharsis of fear and pity, a tragedy not of waste, because Leonidus lived out his legacy and defended his people till the last breath of air left his body, but one of loss.
The story when stripped of its captivating cinematic lustre, is basic. A deliberately angered individual is left to take matters into his own hands when faced with life altering choices, proves to be worthy of the title he holds as both king and soldier but is ultimately defeated but in death paves the way for a new beginning that his people can embrace with greater confidence. The alternating acceleration and retardation in the shot length allows for arresting attention where senses tend to be lulled or blinded... in most cases in the movie by blood.The movie despite is intention to adapt a known story, or valour against all hope must find a way to carve that intial into the bark , so that 300 men can find their "beautiful" demises.
Directed by Zack Snyder, the movie caresses visual senses like a satin blindfold. The shots are impeccably constructed to retain the effect of a Myth being unfolded, with its placid yet thick clouds , the luminous colour filters that enhance bold reds and oranges and further mystify blacks and blues, each sequence is like a painting infused with life. The Romanticized descriptions both on Snyder's part as a director and mine as a critic are essential in glossing over the simple legendary battle because it is in such heightened sensibility that lies that hard hitting sense of honour and courage that the Spartans lay their life down for. The movie succeeds in almost every sphere it glides into. The unexpressible grief in Human loss, the uncapturable depth of romance, one that is not permitted to wilt and thaw but is solidified in and only in the heart, never surfacing to the mouth, the incomprehendible pride that drives 300 soldiers to stand at the face of death and say "Come and Get Them", the corrput politics that lead nowhere and finally the circularity that each myth must attain in living on long after the story ends. The steady photography supervised by Larry Fong is commendable and in a post modern era it would not be inappropriate to applaud the graphic designer,Chris Watts for having done an excellent job in laying the viewer's interpretative complications to rest.
In terms of acting , I do not see the Oscars piling but it has nothing to do with the quality of acting. Gerard Butler is undoubtedly the hero and carries the limelight terrifically but apart from the intense and what could only be imagined to equate torturous hours in the gym in order to get those muscles to emerge and stay and his uncanny ability to bellow in a superbly comprehendible Irish twang, he merged into the Spartan glory that the movie perhaps aimed to highlight more than the character himself. As for the stiff upper lipped Queen, played by Lena Heady, she seemed to carry that controlled grief much like Maria Morgenstern, who played Mary in "The Passion of the Christ" whose repression spoke louder than dialogue could hope to extract. With nothing else to add to the actors credibility, the movie does wonders in encapsulating a concept rather than in creating a hero. The over-used plot of the underdog taking on the Superior Authority, falling short of complete physical victory but gaining infinitely in beating negative expectations to a pulp or in this case, slashing it to pieces only to build a fleshy wall as a reminder of their superhuman capability.
For if it was Miller's inetention to exonerate Leonidas, he would have titled his book, "King of Sparta" or something on such an individualistic level. Instead he glorifies 300 heroes, whose strength, commitment to both tradition and country exalts all 300 hundred , named and anonymous as reminders to push beyond barriers to live and die by what they together envisioned.
Are we questioning the potential in Collective Strength once again?.... I think so!
Leonidas, was a Spartan first and foremost, king followed soon. I could draw analogies between the unextinguishable determination he shared with a Macedonian ruler by the name of Alexander, both being relentlessly trained to become kings, both were unparalleled orators save for the Roman Marc Antony( my father's opinion never falters) who could snatch blue ribbon from them and both at some point of time let the fact that they were composed of flesh that could be cut into and blood that could be spilt, slip their hard heads. The crucial difference lies in the fact that Alexander knew not when to stop, he penetrated deeper into the spiral of ambition he created himself until anarchy, conspiracy and bad luck reared their ugly heads. Leonidas was not a ruler who dreamt larger than what was promised by the Greek code. He sought democratic liberalism for his people and despite the p
resence of an heirarchical reign, never made such distinctions obvious. Leonidas chased a promise not a dream.Spartans were believed to be innate warriors, violent and crass, bold beyond the mind's fancy and skilled to perfection. After all , if you spent your childhood bashing in bones instead of sand, tasting enough blood to forget the taste of milk and taking on opponents ten times your size, there would be very little in the world that you feared. Frank Miller's novel "300" chronicles the battle at Thermopylae, where 300 Spartans refused to let their numeric insufficiencies outweigh their mammoth spirit and legendary strength. I am ashamed to say that i have not read the book, but in keeping with popular culture i have certainly watched the movie. A movie that stirred my deepest emotions allowing for Catharsis of fear and pity, a tragedy not of waste, because Leonidus lived out his legacy and defended his people till the last breath of air left his body, but one of loss.
The story when stripped of its captivating cinematic lustre, is basic. A deliberately angered individual is left to take matters into his own hands when faced with life altering choices, proves to be worthy of the title he holds as both king and soldier but is ultimately defeated but in death paves the way for a new beginning that his people can embrace with greater confidence. The alternating acceleration and retardation in the shot length allows for arresting attention where senses tend to be lulled or blinded... in most cases in the movie by blood.The movie despite is intention to adapt a known story, or valour against all hope must find a way to carve that intial into the bark , so that 300 men can find their "beautiful" demises.
Directed by Zack Snyder, the movie caresses visual senses like a satin blindfold. The shots are impeccably constructed to retain the effect of a Myth being unfolded, with its placid yet thick clouds , the luminous colour filters that enhance bold reds and oranges and further mystify blacks and blues, each sequence is like a painting infused with life. The Romanticized descriptions both on Snyder's part as a director and mine as a critic are essential in glossing over the simple legendary battle because it is in such heightened sensibility that lies that hard hitting sense of honour and courage that the Spartans lay their life down for. The movie succeeds in almost every sphere it glides into. The unexpressible grief in Human loss, the uncapturable depth of romance, one that is not permitted to wilt and thaw but is solidified in and only in the heart, never surfacing to the mouth, the incomprehendible pride that drives 300 soldiers to stand at the face of death and say "Come and Get Them", the corrput politics that lead nowhere and finally the circularity that each myth must attain in living on long after the story ends. The steady photography supervised by Larry Fong is commendable and in a post modern era it would not be inappropriate to applaud the graphic designer,Chris Watts for having done an excellent job in laying the viewer's interpretative complications to rest.
In terms of acting , I do not see the Oscars piling but it has nothing to do with the quality of acting. Gerard Butler is undoubtedly the hero and carries the limelight terrifically but apart from the intense and what could only be imagined to equate torturous hours in the gym in order to get those muscles to emerge and stay and his uncanny ability to bellow in a superbly comprehendible Irish twang, he merged into the Spartan glory that the movie perhaps aimed to highlight more than the character himself. As for the stiff upper lipped Queen, played by Lena Heady, she seemed to carry that controlled grief much like Maria Morgenstern, who played Mary in "The Passion of the Christ" whose repression spoke louder than dialogue could hope to extract. With nothing else to add to the actors credibility, the movie does wonders in encapsulating a concept rather than in creating a hero. The over-used plot of the underdog taking on the Superior Authority, falling short of complete physical victory but gaining infinitely in beating negative expectations to a pulp or in this case, slashing it to pieces only to build a fleshy wall as a reminder of their superhuman capability.
For if it was Miller's inetention to exonerate Leonidas, he would have titled his book, "King of Sparta" or something on such an individualistic level. Instead he glorifies 300 heroes, whose strength, commitment to both tradition and country exalts all 300 hundred , named and anonymous as reminders to push beyond barriers to live and die by what they together envisioned.
Are we questioning the potential in Collective Strength once again?.... I think so!
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