Confession is good for the soul, right?
Well – my wife and daughter are out of town and I decided to go to the movies. The criteria for trips to the movies when my wife is out of town are that they have to be movies that she wouldn’t want to see. I normally pick something that has a few redeeming qualities – but is it a genre that she wouldn’t prefer (say sc-fi or fantasy). This time I am afraid I out did myself.
The movie “300” is the story of the battle between Sparta and Persia in ancient Greece. It is directed by Zack Snyder and stars Gerard Butler (who looks strangely like George Clooney).
This movie is not an Academy Award winner and not a date movie. There is an uncomfortable rhythm to the movie that haunted me. The movie seemed to have characters that only shouted, soldiers that only say an ancient form of “Hoo-rah” and long drawn out battle scenes where blood splatters everywhere and from everything. If the blood splatter wasn’t so obviously “computer generated” you would wonder how many buckets of the stuff they made up for each scene. The eerie part of the blood splatter is that unlike every CSI episode on the face of the earth – there was no blood splatter on the Spartan soldiers. Sure they looked disheveled after a battle – dirty, exhausted but never bloody. They had just spent the last ten minutes of footage (and narrative-ly a whole day) killing everything from soldiers and magicians, to elephants and freaky mutant giants that were eight feet tall! But all of this – without a drop of blood getting on them!
It becomes apparent early on that the movie is low on plot. The first fight scene comes early in the movie and I turned to a friend who came with me and remarked that I was hoping for a little more plot.
The plot arc that does come is bare-ly an arc. The story is of a boy that grows into a King. A tyrant who is trying to enslave the world. A small Greek city state of soldier citizens who thumbs there nose at the tyrant and goes to war. A group of mystics and politicians who are part of the Spartan culture limit the military response (Sparta sounds and looks a lot like a Greek version of the American dream – freedom, equal voices for men and women, and violence). Then the plot becomes a series of the tyrant army throwing everything at the Spartan warriors (almost everything but the kitchen sink!). Eventually Sparta is undone by the tyrant through the betrayal of a hunchback who had followed them into battle. The hunchback dreams of being a Spartan warrior – but the King of Sparta has no need for the physical liabilities presented by the Hunchback. Eventually the politicians are defeated at home by the wit and tongue of the king’s wife – but not before the soldiers fall in battle (sacrifice) defending the shores of Sparta against the tyrant.
The rhythm method: sex, violence, dialogue.
Movies should never be predictable – except at a few specific moments. When the shark Jaws blows up in the movie – you almost expect it – and you are so wrapped up in the moment that audiences stood and applauded for the victory and the release of tension in the theater.
Sadly 300, though its plot line is no more complex than a Jaws movie, it pulls off no surprises and is horribly predictable. Within a few scenes the movie establishes its rhythm – violence, sex, dialogue. The story opens with how the Spartans raise their sons to be soldiers (violence), and the coming of the Persian messenger (violence and dialogue), and then moves into a consulting of the oracle and the night before the king leaves for war – making love to his wife (sex). The men encounter the work of the tyrant’s army and go into battle (violence), the men remember back to their sons and their wives (sex), and the queen uses political maneuvering to send reinforcements to the battlefront (dialogue). More battle scenes (violence), the hunchback is rejected by Sparta and visits Xerxes who bribes him with gold, possessions and (you guessed it) a harem of women who will satisfy his every need (sex), while the Spartans have a half-time locker room-esque speech before the next battle (dialogue). And then (you guessed it) more battle scenes (violence), the queen gets raped by the politician who has bribed the counsel (sex and violence), and the council scene where the politician is revealed as a traitor (dialogue).
You get the idea. There is a rhythm to the method of the movie and it is neither creative nor is it enjoyable.
Everything is by force: War, Rape, and Money
The movie must have been written, directed and produced by men. It is one big, phallic allegory. Men use spears, swords, armies, money and their ‘ahems’ to force enemies, tyrants, countries, and women to do their bidding.
Everything is by force. Everything is about invasion.
The tyrant will force them into submission and slavery. The politicians are forcing the king not to go to war. The traitor rapes the queen as a statement of power. The tyrant has bribed the politician and the mystics of the oracle to work behind the scenes to force the honorable king to submit.
The rape scene really got under my skin. Movie scenes should advance the plot line of the story. This concept is true especially if it is a scene using sex or violence (or in this scene both). When the queen goes to the politician with the intention of using honor and dignity to persuade him to support her request to the city council for reinforcements for her husband who is defending the city – you have been led to believe that it is just a formality. But in actuality the politician berates her, degrades her by telling her that contrary to the spoken narrative of Sparta that all men are not created equal (was that Spartan I thought it was American?) and women are certainly even less… he then asks her what she is willing to negotiate with for him to give her his vote. She asks – what do you want. And at that moment you know that there will be know creativity in this scene – the scene and the plot will be dominated by the force of men. And instead of leaving the rape scene to your imagination the director wastes footage showing you it – for a throwaway laugh later at the climax of the movie.
So on the battlefield, in the council chambers, and even in the queen’s bedroom – everything is taken by force.
Cultural Overtones
I recently listened to an excellent lecture about race, media and the church by a theology professor at Duke Divinity School – so I am a little sensitized about the issue of how the media portrays race and how it clashes with the biblical vision.
The movie plays into all the standard stereotypes. White is good, dark is bad. Beautiful and thin is valued, ugly and deformed is devalued. Males are strong – women are smart but weak.
A variation on the gender theme is played out in the character of Xerxes the invading tyrant who is not the picture of maleness. His figure and his face are very stylized and is gender ambiguous. His eyebrows are ‘penciled’ and sculpted to resemble something less than the uni-brow of the Spartan soldiers. He wears jewelry and is bedecked in gold. But his voice has this deep reverberating quality to it. And his language and vocabulary is that of pomp, power, and prestige. But his general character is certainly written with a mysterious foreign quality.
One more comment about the gender thing. I want to know how much money they spent on computerized special effects – it had to cost big bucks to add in all those wash board stomachs in every shot. Surely not every man in Sparta had a six pack!
The cultural overtones are powerful. Though Sparta is a small city state of free persons (free being the operative word). They are able to stem the tide of millions of Persian soldiers. And I have already noted the variety of components that Xerxes uses in his army (magicians, rhinoceros, elephants, mutants, giants, etc.) The overtone is that known is good (spear, shield, and sword) and the unknown is bad (archers, darkness, foreign weapons, tactics, etc.)
Cheese Factor
Ok… there is this one scene that is heartbreaking. The captain of the Spartan army, (best friend of the King, etc.) who has brought his adult son as a soldier on the journey – watches as his son dies in battle. His son is facing away from an attacker who is on horseback and before the son can be warned he is suddenly decapitated and killed. (I could spend another paragraph or two on the poor special effects – I think they used the same prop for three decapitations).
The father later, clearly in grief, approaches the king and tells his friend that the worst part of the experience wasn’t that his son died in battle – but that he died before he could tell his son that he ‘loved him.’
Ugh.
In text it may seem touching – but in the movement of the movie it is a lame attempt at emotionality. It comes off as a pathetic attempt to humanize people who were never believably human in the first place.
An ad for the War on Terror
The old friend I went to see the movie with made mention that there has been an uproar from Muslim voices in the world that the movie is a propaganda add for the West in general and for Bush’s War on Terror in particular.
I am not so sure I would agree with the claim that it is propaganda for the War. But what it is a convincing display of advertising for the military. Again as I mentioned before – every time the Spartan Army celebrates they shout loudly something that is reminiscent of “Hoo-rah” – the Marines guttural call of the corp.
A number of times the music, dialogue, or scene made reference to the soldier spirit and the powerfully attractive idea to fight for honor, respect and of course – freedom. I looked for the US Military logo and didn’t see it – but I am sure it must have been there…
I wouldn’t agree with critics that say it portrays Muslims as unintelligent or evil – but I would agree that the Spartans are polished up way to much to look like an Ancient world version of the American vision seen through conservative talk radio ideals. The script language just seems to be borrowed from either Rush Limbaugh – or my old Jr. High football coach at half time in the locker room.
Conclusion:
As one commentator said – if you are not captured by reality, and not interested in historical accuracy, if you don’t mind the less than 20 minutes of dialogue in two hours of blood, gore, and sexual tension – then go see it. If you go then prepare for what has been referred to as a tightly choreographed dance of death and dismemberment.
Instead, I think I might go see Amazing Grace tonight. A little redemption may be helpful after ‘300.’