300
iaian7 » blog John Einselen, 11.03.07I grew up with a fascination in ancient cultures and mythology… chief amongst the storytellers, leastways in my mind, stand the Greeks. And few historical battles hold such prestige and effulgence as those of the Persian War.
Frank Miller, when writing the graphic novel 300, set out not to retell the historical facts, but create a newly-told legend. Honesty might still be found in this modern myth as the historical storytelling tradition is honored and carried on. Xerxes (known as Aḥashverosh in the book of Ezra) becomes a monstrous giant, the characters exaggerated and dramatic, and holding true to Greek drama, we find our end in glorious tragedy.
Not surprisingly after the success of the beautiful-though-highly-disturbed Sin City the novel 300 was also translated to movie form. Having not read the book, I can’t comment on differences, nor can I discuss the effectiveness of moving from illustration to motion picture. What is obvious, however, is the clear and vibrant use of Frank Miller’s imagery. This isn’t the first film shot almost entirely on greenscreen; Sky Captain and the World of Tomorrow might be closer to claiming that place, but the process leading to fully digital backlots has been far longer and more gradual than a few pivotal films. With 300, however, it’s clear that the possibilities have been leveraged like few others have dared. The style is brilliant. Bold, high contrast, and with simply sumptuous lighting.
The style isn’t limited to a mere projection or repetition of the static compositions found in the novel, but motion is played with in similarly dramatic fashion. Speed, much like the loose and grandiose retelling of events, is in constant flux. Slowing down to cement an angle, pose, or action… speeding up to lash out, smiting and fighting all the way. Singing a melody that grabs and holds, tosses around at times, and is nothing short of poetic.
I had truly wondered about Zach Snyder directing this film, as interviews failed to inspire trust in storytelling ability or cinematic eloquence, but I think it’s safe to say he did well. Quite well. The admittedly rather simple story is told with great balance; setting up characters and cultures, cutting from the front of war to the battles of corruption inside the Grecian city-states. Lines are clearly drawn as the story, somehow, remains very classical in feel.
Don’t be fooled, though, for all its beauty, it’s a terribly dark tale. While very stylized, it’s ultra violent, and there’s no shortage of nudity (especially in the first half). This is no friendly movie, and while the stoic barbarism of Sparta is well known, it may not be so nice seeing it on the big screen. Much like other Frank Miller stories, themes of honor, justice, and morality are woven through a film that doesn’t shy much from the disturbed.
mediaboxAdvanced
You are far more sophisticated in your elocution of a movie review. I, too, loved the movie for the artistic retelling of a historically, and militarily infamous strategic campaign. I could wax eloquent on the significance of this particular battle in furthering western civilization by laying the foundation for future Greek conquests, etc. But ultimately, it was just a HOT movie with visually stunning battle scenes. Yes, it made me want to trade in my bo and nunchuks for a spear and sword and go Spartan! Harooo!