With a coincidence that even Hollywood rarely
permits itself, two of the most heavily promoted and generally extreme motion
pictures of the year derive from two richly ambiguous incidents in the ancient
past that permanently influence Western civilization.
ย ย ย ย ย ย ย ย ย ย ย The
political uprising in an obscure corner of the Middle East, culminating in the
Crucifixion, and the amphibious raid on a settlement in Asia Minor, known as
the Trojan War, contribute immeasurably to the art, literature, and culture of
the societies, nations, indeed empires that succeed the Greeks and the Romans.
The culture we know, from its laws to its poetry, could not exist in its
present form without the record of those events. No wonder the cinema returns
again and again to the Bible and the Homeric epics.
ย ย ย ย ย ย ย ย ย ย ย The
makers of Troy acknowledge that their
film is “inspired” by The Iliad,
which enables them to deviate from a number of the poem’s material. They omit a
great many people and actions, insert others that actually derive from other
sources, and seriously alter matters of character and motivation.
ย ย ย ย ย ย ย ย ย ย ย Cassandra
and Philoctetes, among many humans and all of the gods, for example, never show
up. Ajax only manages a cameo appearance. The Trojan Horse and the death of
Achilles, not included in the poem, occur in the movie (what director could
resist them?). And Agamemnon, whom they turn into the chief villain, never
makes it back to Greece to be killed by Clytemnestra and inspire a remarkable
tragic cycle.
ย ย ย ย ย ย ย ย ย ย ย Homer
sang of the wrath of Achilles, the greatest of the Greek heroes, who directs
that anger at both Agamemnon and Hector, the greatest Trojan warrior. His
squabble with the king causes him to spend much of the poem sulking in his
tent, while his fury at Hector’s killing of his beloved friend Patroclus drives
him to a shameful desecration of the Trojan’s body.
ย ย ย ย ย ย ย ย ย ย ย In
the film, Achilles (Brad Pitt) displays both the petulance and the relentless
desire for a hero’s immortality that ultimately motivate his actions. Yet he
also understands the mixture of melancholy and sweetness that an awareness of
doom imparts to a brief and glorious life.
ย ย ย ย ย ย ย ย ย ย ย The
few moments of introspection allowed Pitt’s Achilles reveal a surprising hint
of complexity that few of the other characters exhibit. Most of the others
behave according to a simple, superficial, sometimes strictly Hollywood
interpretation of the Homeric originals. The nobility of Hector (Eric Bana),
the weakness of Paris (Orlando Bloom), the megalomania of Agamemnon (Brian
Cox), the beauty of Helen (Diane Kruger), the intelligence of Odysseus (Sean
Bean), and so on, seem the single characteristic that defines each. Peter
O’Toole as Priam, king of Troy, father of Paris and Hector, exhibits a measure
of depth that most of the others lack, comprehending from the beginning the
sadness and suffering the war will exact from both his family and his nation.
ย ย ย ย ย ย ย ย ย ย ย Thanks
to the brilliance of contemporary film technology, Troy continues the grand Hollywood tradition of the spectacular.
Since the early days of the silents, American film excels in the epic mode. The
thousand ships of Agamemnon’s fleet make a magnificent and thrilling display
off the shores of Troy and the walled city really looks impregnable. The bloody
battle scenes employ the usual enormous and hyperactive cast, and the huge,
ominous Trojan Horse suggests the dark destiny it contains.
ย ย ย ย ย ย ย ย ย ย ย In
Achilles’ words and deeds Troy also
reflects one of the major themes of The
Iliad, the Greek regard for permanence through human memory. Given the
choice of a long, peaceful life of contentment and obscurity, or a brief moment
of existence and an eternity of fame in history and poetry, Achilles naturally
chooses the short, glorious life of a true Greek hero. He frequently exhorts
his troops to seek immortality.
ย ย ย ย ย ย ย ย ย ย ย All
the characters, in fact, speak self consciously of their belief that this war
will make their names known to all people always. And, as the hundreds of spear
carriers and horse holders enshrined forever in Homer’s poem prove, they are
entirely correct.
ย ย ย ย ย ย ย ย ย ย ย Muscular
and handsome, arrogant and mercurial, Brad Pitt makes a perfectly acceptable
Achilles. The English accent that he and all the actors adopt, apparently in
the belief that it confers a certain dignity and, well, classical class,
gradually grows tiresome and laughable. But he moves with a convincing
athleticism and now and then quite wonderfully assumes the familiar postures of
the Greek warriors on all those vases we know so well.
ย ย ย ย ย ย ย ย ย ย ย The
other actors behave with competence if not distinction, given the essentially
static and superficial nature of the script’s interpretation. The film’s
necessary amplitude and excessive concern for dignity occasionally slow the
pace, but for the most part it bubbles with energy and it always looks
terrific.
Troy (R), stars Brad Pitt, Eric
Bana, Orlando Bloom, Diane Kruger, Brian Cox, Peter O’Toole; directed by
Wolfgang Petersen. Loews Webster, Pittsford Plaza Cinema, Regal Greece Ridge,
Regal Culver Ridge, Regal Eastview, Regal Henrietta.
This article appears in May 19-25, 2004.
