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February 12, 2007 - It's truly difficult to resist making epic proclamations about a filmmaker's career after watching something like 300. Director Zack Snyder, the man responsible for a superlative remake of George Romero's Dawn of the Dead,
adapts Frank Miller's graphic novel with passion and creativity,
proving that classical storytelling will never go out of style —
especially if more filmmakers are able to make it look as cool and
exciting as this. Combining old-school mythmaking with ultramodern
technique, Snyder has crafted a one-of-a-kind masterpiece that is
unlike any movie audiences have seen, and in so doing he may have
sealed his own fate as a possible redeemer of modern moviemaking.
Gerard Butler plays Leonidas, the wise king of Sparta. Raised with the
utmost ideals — honor, duty, glory — Leonidas is a brilliant military
strategist and egalitarian champion of personal freedom. So when news
arrives from Persia to herald Xerxes' (Rodrigo Santoro) sovereignty
over Sparta, he rebuffs the declaration and announces that his
countrymen must fight to preserve their way of life. Unfortunately, the
Spartan elders honor an ancient and fickle belief system that prohibits
Leonidas from challenging the impending Persian hordes.
Fearing for the safety and freedom of his people, Leonidas enlists 300
soldiers -- declared his personal bodyguards -- and mounts a valiant
defense against Xerxes and his limitless armies. Meanwhile, his wife,
Queen Gorgo (Lena Headey), attempts to employ more diplomatic means to
solicit support from the Spartan council, even as Theron (Dominic West)
poisons its members to her plan from within.
The simplicity of the plot is the film's greatest virtue. Rather than
languishing in the details of military strategy or inundating audiences
in the subtleties of Spartan politics, director Snyder renders Miller's
story in big, broad strokes. For example, the film's opening sequence
introduces rather simply the cultural tradition that inspired
larger-than-life figures like Leonidas: Great men are born and bred,
nurtured in their natural abilities and trained to serve a specific
purpose. Indeed, this sequence not only explains everything one needs
to know about the hero, but reveals the origins of his masterful battle
strategy… not to mention the Spartan philosophical ideals upon which it
is based.
- Warner Bros.
At the same time, however, there is a palpable humanity to Leonidas and
his men. While they do in some way provide the latest cinematic
iteration of Schwarzeneggeresque musclemen — not one of them is built
less than Ford tough — they are not without thoughts and feelings,
which are applied liberally to their efforts to protect one another
and, by extension, their Spartan homeland.
Best of all, Leonidas' relationship with his wife Gorgo offers a rare
display of tenderness and devotion that is seldom seen in "guy movies"
like this one, and provides some of the film's most profound and
lasting emotional underpinnings. Notwithstanding a sex scene that
almost surely ranks as one of the hottest and most beautiful in recent
memory, theirs is a partnership that reflects mutual understanding and
shows the sort of commitment that is to be aspired to in real life as
much as on the silver screen.
Thankfully, the acting also plays directly to this seeming
juxtaposition between classicism and modernism. Butler, a reliable
Russell Crowe-like leading man who hasn't yet enjoyed the success he
deserves, finally finds his Maximus in Leonidas. He possesses enough
strength and tenderness to satisfy all of the demands of his character,
and yet defines the film within terms that will have audiences swooning
over his personal stage presence for countless roles to come. As Gorgo,
meanwhile, Headey is a terrific adult beauty who conveys credible
intelligence as well as smoldering sexuality. The lack of
self-consciousness she lends her character — especially when clothed —
is far hotter than and sort of make-up for the "prettiness" filmmakers
might have found in a more familiar (i.e. commercial) face.
Of course, the only way their performances would have worked is if the
material was treated deadly serious, and Snyder exerts masterful
control to make sure that each defiant turn and earnest proclamation is
absolutely sincere. He choreographs the action in such a way as to
inspire awe no matter what his characters are doing, employing
slow-motion so freely that it seems more the norm than the 24 frames
per second that audiences have become accustomed to. But at the same
time, none of these flourishes feel superfluous. Instead, they create
the kind of momentum and operatic scope that elevates a tall tale to
the stuff of legend.
- Warner Bros.
That said, there are so many painterly images in 300
that it qualifies as the closest thing to "pure cinema" that audiences
have come to in quite some time: The silhouette of the Spartan elders'
temple against a cloud-stained moon; the spectacle of dead bodies in
the shape of a great, gnarled hand reaching out of scorched soil; more
than one extended shot of the Spartans laying waste to their
adversaries as the camera changes speeds, zooms and shifts focus to
keep up; and the pristine and breathtaking shadow of a lone spear as it
ascends a stairwell towards its designated target.
Ultimately, the film looks a little bit like a Boris Vallejo print come
to life — muscled supermen springing to action to save their
oil-painted landscape — and full credit must go to Snyder. But with
both this and Dawn of the Dead,
he has proven himself a consummate storyteller who can transform
convention into cinematic magic… which is why it's with reluctant
enthusiasm that we assign him the responsibility of restoring the
luster of mainstream movies.
After all, who knows how well Snyder will do moving forward, or what
career path he might follow? It seems like his only (or maybe most
obvious) predecessor would be Ridley Scott, who broke into the
mainstream with a similar sort of genre-movie deconstruction and whose
last big commercial success no doubt served as at least a vague
template for some of the style on display here. Suffice it to say that
Snyder could do worse than follow Scott's career path, rewriting rules
and changing the landscape with each new effort. But keep in mind that
it took Scott 22 years to follow Alien with a Gladiator, and it took only four for Snyder to go from Dawn to 300.
Ultimately, this film combines an archetypal conflict, an ancient
storytelling tradition reaching back as far as the Greeks themselves,
and technique that makes it relevant to modern audiences. In other
words, it's not clear whether great movie myths are born or bred, but 300 is unequivocally one of them.
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