300 Still Causing Stir

I don't recall this much stir when Stone offered his lame-ass telling of Alexander the Greats story. And this story is based on a comic book, not on history. These articles were linked on Drudge.

The Iranian official response is almost too funny.

An Iranian official on Sunday lashed out at the Hollywood movie "300" for insulting the Persian civilization, local Fars News Agency reported.

Javad Shamqadri, an art advisor to President Mahmoud Ahmadinejad, accused the new movie of being "part of a comprehensive U.S. psychological war aimed at Iranian culture", said the report.

Shamqadri was quoted as saying "following the Islamic Revolution in Iran, Hollywood and cultural authorities in the U.S. initiated studies to figure out how to attack Iranian culture," adding "certainly, the recent movie is a product of such studies."

The movie's effort wound be fruitless, because "values in Iranian culture and the Islamic Revolution are too strongly seated to be damaged by such plans", said the Iranin official.

I'm thinking the movie was produced to make money, and not to attack Iran. I'd bet that a large percentage of those seeing the movie probably haven't a clue that the Persians under Xerxes were from a culture that is common that in modern day Iran. If this is a psychological warfare piece, it certainly is pretty lame.

We have cultural authorities in the US? If that were true, they are doing a really poor job. These guys obviously haven't seen US television offerings.

Here's a historian's look at the movie. At least he seems to get that it's not history. He points out some of the inaccuracies in the stories background.

And had Leonidas undergone the agoge, he would have come of age not by slaying a wolf, but by murdering unarmed helots in a rite known as the Crypteia. These helots were the Greeks indigenous to Lakonia and Messenia, reduced to slavery by the tiny fraction of the population enjoying Spartan "freedom." By living off estates worked by helots, the Spartans could afford to be professional soldiers, although really they had no choice: securing a brutal apartheid state is a full-time job, to which end the Ephors were required to ritually declare war on the helots.

Elected annually, the five Ephors were Sparta's highest officials, their powers checking those of the dual kings. There is no evidence they opposed Leonidas' campaign, despite 300's subplot of Leonidas pursuing an illegal war to serve a higher good. For adolescents ready to graduate from the graphic novel to Ayn Rand, or vice-versa, the historical Leonidas would never suffice. They require a superman. And in the interests of portentous contrasts between good and evil, 300's Ephors are not only lecherous and corrupt, but also geriatric lepers.

Ephialtes, who betrays the Greeks, is likewise changed from a local Malian of sound body into a Spartan outcast, a grotesquely disfigured troll who by Spartan custom should have been left exposed as an infant to die. Leonidas points out that his hunched back means Ephialtes cannot lift his shield high enough to fight in the phalanx. This is a transparent defence of Spartan eugenics, and laughably convenient given that infanticide could as easily have been precipitated by an ill-omened birthmark.

OK, so he goes overboard forgetting that comic books, and a lot of movies, don't generally tend to be real subtle. Making the bad guys clearly bad is typical. I understand in the world where Bowling for Columbine and An Inconvenient Truth are considered documentaries that facts are not generally required to be, well, factual, that some people may take this movie to be history. Oliver Stone and his ilk flash Docu-Dramas perpetually to the cheers of Hollywood. You'd think that a movie based on a comic book might actually get a bit more of a pass.

Victor Hanson (a classicist) even defends the film for what it is.

Recently, a variety of Hollywood films — from Troy to Alexander the Great — has treated a variety of themes from classical Greek literature and theater. But 300 is unique, a sui generis in both spirit and methodology. The script is not an attempt in typical Hollywood fashion to recreate the past as a costume drama. Instead it is based on Frank Miller’s (of Sin City fame) comic book graphics and captions. Miller’s illustrated novelette of the battle adapts themes loosely from the well-known story of the Greek defense, but with deference made to the tastes of contemporary popular culture.

So the film is indeed inspired by the comic book; and in some sense its muscular warriors, virtual reality sets, and computer-generated landscapes recall the look and feel of Robert Rodriquez’s screen version of Sin City. Yet the collaboration of Director Zack Snyder and screenwriters Kurt Johnstad and Michael Gordon is much more of a hybrid, since the script, dialogue, cinematography, and acting all recall scenes of the battle right from Herodotus’s account.

300, of course, makes plenty of allowance for popular tastes, changing and expanding the story to meet the protocols of the comic book genre. The film was not shot on location outdoors, but in a studio using the so-called “digital backlot” technique of sometimes placing the actors against blue screens. The resulting realism is not that of the sun-soaked cliffs above the blue Aegean — Thermopylae remains spectacularly beautiful today — but of the eerie etchings of the comic book.

Strange that so much breath is being spent on a movie based on a comic book.