Troy

Next up in our Heroic Age cycle is Troy, an interpretation of Homer’s classic epic poem “The Iliad”. We’re watching these as a bit of background leading up to the Roman invasion of Britain.

During a diplomatic trip to Sparta, while his brother Hector (Eric Bana) is busy with negotiations, Trojan prince Paris (Orlando Bloom) falls in love with Spartan queen Helen (Diane Kruger), and they decide to run away together.

Her husband Menelaus (Brendan Gleeson), king of Sparta, is understandably pissed off, so he recruits his scheming and powerful brother, King Agamemnon (Brian Cox) of Thessaly. Agamemnon’s had his eye on Troy for a long time, so he brings along his army and his best warriors, including Achilles (Brad Pitt) and Odysseus (Sean Bean).

There’s the usual buff manly men…

The dialogue is so-so, and there’s some improbable stuff like everyone stopping in the middle of a battle to watch a significant personal duel. But the one-on-one fighting is actually really exciting. Achilles’ fighting style and spear-throwing is especially cool.

A lot of reviewers got down on this film because it completely removes the Greek deities from the story, except for a brief appearance from Achilles’ mother Thetis.

But it’s fine by me. Epic stories like The Iliad tend to be a bit inscrutable for modern audiences, because we can’t really grasp what motivates the characters, nor are we meant to.

When someone announces that they’ve received a message from the gods and everyone has to get in a boat and sail around the world, never seeing their families again, people just do it, instead of firing him, or inching away from him as quickly as possible.

Or, when someone’s brother leaves his partner, kidnaps a rival’s wife and sneaks her into the country, they don’t punch him in the face and turn the boat around, because they don’t want to spurn a gift of the gods, and it’s all been prophesied anyway.


Doooooooomed.

So, by removing the immortal elements, divine intervention and prophecies, the film is able to show much more reasonably why such an event might have occurred — in this case it’s the usual suspects: greed, jealousy, pride.

Despite this excoriation, when the film isn’t showing battle scenes, it’s subtly about the struggle of belief; characters are astonished when Achilles removes the head of a statue of Apollo and isn’t immediately struck dead, and the Trojan council members who rely on interpretation of symbols instead of military strategy only hurry along the city’s doom.

Yet in the end, Paris takes up a bow and strikes Achilles in the heel with an arrow, preventing his escape and ultimately killing him. Was it random luck that Paris, admittedly skilled, was able to strike the impervious-by-legend warrior? Or was it the will of Apollo, the god of archery, having his revenge in the end?

As far as epic war movies go, I thought this film was satisfactory, mostly because it shows people involved who were not kick-ass warriors (Paris), or who were insubordinate and in it for personal glory (Achilles), or who willingly followed what they knew to be flawed orders out of a sense of duty, knowing it would result in their death (Hector).

Wow, though, Paris is pretty awful. He’s a lame fighter even in The Iliad, but at least he has the excuse of being personally selected by the gods to be a patsy.

“‘Are you too cowardly to stand up to the brave man whom you wronged? You would soon find out the kind of fighter he is whose lovely wife you stole. Your lyre would not help you at all, nor Aphrodite’s gifts … But the Trojans are too soft. Otherwise you would have been stoned to death long ago for the evil you have done.” (Hector 1 to Paris. Homer, Iliad 3.45).” (via)

In the film, without the divine pot-stirrers, he’s merely short-sighted, selfishly stupid, and a total wimp.

“You left me for THIS?” Menaleus bellows, as Paris scrambles away and literally hides behind his older brother’s legs during a duel. Menaleus has a valid point.

(For some reason, the film chose to ignore the story of Paris’ birth. He was prophesied to be the downfall of Troy, and so was “exposed” — left out in the wilderness to die. He survived by suckling on a she-bear for nine days before being rescued.)

Troy also shows how the war affects the women of the city, though in this case they’re all wives or partners of fighters who end up dying, and all the ladies do is take turns having sex, getting kidnapped, nobly mourning, and fleeing the city.

And speak of Trojan women, this film also leaves out the character Cassandra, a sister to Hector and Paris. In her original story, she’s blessed by Apollo with the gift of foresight, but when she spurns his advances, he curses her so no one will believe her prophecies.

In this immortal-free version of the story, this is perhaps a good thing. She’d either be River Tam or Bertha Mason Rochester, and either one would have meant a very different film.

Finally, Sean Bean plays Odysseus, so when he comes up with the idea for the Trojan Horse, I couldn’t help but picture him in his Lord of the Rings role.

2 comments ↓

#1 Laurence Olivier’s King Lear — Anglofilmia on 10.18.10 at 4:22 pm

[...] The Fool, played by John Hurt, is amazing, and Brian Cox puts in a very convincing Burgundy. (Side note, kinda weird to see him so young in this, having seen him so old in our last film, Troy.) [...]

#2 300 — Anglofilmia on 01.26.11 at 1:42 pm

[...] 300 is another of the Anglofilmia movies that touches on several familiar concepts: natives fighting invading forces, the appeal of a glorious death in battle at the peak of one’s life, and the resulting immortality in story form throughout history (see also: Troy). [...]

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