Others say...

"SHOW THIS TO YOUR SONS IF YOU ARE LUCKY ENOUGH TO HAVE SONS"
This remarkable and inspirational film is a literal tranlatrion from a visual novel or comic book format novel based on the famous stand of Leonidas King of Sparta and his small army of volunteers at the pass of Thermopyle. Because the director chose to make his movie resemble the picture/novel, it is not a life-like film, though close to that, but somehow, far more intense. As in the original artwork, non-important details of background, character and plot and even of situation, are eliminated, and this elimination of detail allows us to focus all our attention on the power of the story. And, it becmes all the more powerful because the story is true; Leonidas did lead his men against the overwhelming masses of the Persian invaders, and although the Spartans did not stop the ivasion, they delayed it for a time, thereby teaching the invaders that conquest of the Greek city-states would cost them far more than they imagined.

As one would expect in a comic book or visual format devoted to the struggles of heroes, the Greek warriors are shown as a band of supremely beautiful, athletic and muscular athletes. Physical magnificence overwhelms almost everything. That kind of magnificence fiits the Greek tradition which says that proud nakedness is a sign of courage; even of sanctity. That's why the statues of Greek heroes are shown naked, or in the originals, wearing helmets but holding nothing but their lances. Bravery requires no covering. Logic suggests that the actors in this film, to be true to history and tradition, would be both naked and magnificent. But, present reality being what it is, a film of frank nakedness certainly wouldn't be distributed in this country, and besides, it is virtually inconceivable that an entire cast of perfectly matched fine specimens of masculinity could be found; therefore, we bow to the costumer's decision to clothe the performers in something like leather Speedos, and the animator's decision to use digital techniques to multiply on screen many "copies" of one or wo archetypes, and to animate them endlessly. But all this is done with such facility that in only a few seconds of watching the film one is unconscious of the effort to achieve the effects, and engrossed in a forever-engrossing story. It is the equivalent of doing on tape what Greek sculptors did during the Helenistic age when they carved the famous Altar at Pergamum. The figures are exagerated and many are naked, details are eliminated, and the emotional and physical exertion of the warriors in their battle dominates one's perception; the marble seems to sweat, to bleed, and we can almost hear screams issuing from some of the faces of the wounded and dying.

There's another version of this story available and for rent; THE THREE HUNDRED SPARTANS. You can find it at Critics Choice or any number of othe sources. Although it was made three or four decades ago, it was a well made Hollywood technicolor film and is an excellent and realistic re-enactment of the incident at Thermopalye. Matter of fact, it migt be of some use to compare the two versions. If you do you'll see that in this newer but more abstract version, Persia and the Persian King is not shown as a real or historic indiidual, but rather as a symbolic figure on a rich and fantastic catafalque who represents not the king, but tyrany and slavery and abject surrender, for to the Spartans the warriors of the King are seen as slaves. And the Spartans distinguish themselves as free men who will never surrender themselves or allow themselves to be enslaved. Of course its done with a kind of confrontation of physiques as one might see it in a wrestling ring, when a big baddie associated in name and style with death and perversity, confronts a clean or at least cleaner cut athlete who fights honorably and represents all the cheering audience thinks of as good and worthy, wihin themselves.

To get an idea of the story is easy enough: many commentators have described it in detail, so there's no need for me to go into it here. There are not many characters, for the plot is lean. Thre's a heroine, a villanous traitor on the front and another in the Spartan council chamber. But, nothing described by anybody here can adequately convey the power of the story; its effect is electric and rousing beyond almost anything you can imagine. Irrational though it may be, it is as though some part of Leonidas' courage manages to get itself itno your bloodstream and there to mingle with your hormones and genes in such a way as to nullify all the petty slights, insults and compromises we undergo every day, and to allow us to touch the fuel source of the flame of manhood that burns within us all. It is a celebration: At a time of so many ignoble compromises, a triumph. Call it a seance, if you like. Or a testosterone high. Or think of it as the pep talk of a great coach in the smelly locker room of conflict. Call on your memories of General Patton and imagine why his army held him in such high esteem. Or, if you like, consider it a specific against the endlessly onanistic Politically Correct bilious whining of those who don't either respect themselves or like men, and who hate raising boys.

"Tonight...We dine in HELL!!!"
Based on the graphic novel by Frank Miller and Lynn Varley, 300 takes over the screen like an invading horde. With all the gushing blood of a horror movie and the scope of a classic epic, the second film from Zack Snyder (who helmed the 2004 remake of Dawn of the Dead) is an impressive visual spectacle. Gerard Butler plays Leonidas, the king of ancient Sparta. The city is famous for its warrior philosophy, and Leonidas won't kneel to the demands of Persia's King Xerxes. Instead, Leonidas leads his 300-strong army against Xerxes's army of millions.

With its gore and scale, 300 marks director Snyder as a possible successor to Peter Jackson's throne. The huge fights in 300 rival Jackson's efforts in the Lord of the Rings films. Though the cast doesn't boast any A-list stars, the actors ably fill their larger-than-life roles. Though there are scenes that demonstrate the humanity of the characters, 300 is undeniably about bravery and blood, and it succeeds because of the stylish depictions of both.


"Gorgeous cinematography!"
Gorgoeous cinematography! Wonderful story line of strength & courage! And came right on time as promised. LOVE THAT~!

"Awesome Film"
This film is freaking great!

I have the Limited Collector's Edition, with the digital copy... the only thing is I can't get the digital copy without the 25 digit authorization code! I can't seem to find it... anybody else experiencing the same thing?

"wish I'd known what to expect"
I didn't know much of what to expect--just that it was a historical war movie.

I tell you this so you'll understand why I was underwhelmed for the first quarter of the movie. The monochromatic filming, mostly in sepia tones, but then occasionally in blues, got pretty irritating. And then there was the Heroic Music and the Ominous Music trying to get me all excited or worried about characters I didn't even know yet. And that was really irritating.

It starts off with voice-over narration and a little boy going off to be trained as a Spartan warrior. Complete with a weird-looking CGI wolf. I couldn't figure out why they couldn't use a real wolf. Lots of scrawny kid skulking around being shadowed by a goofy looking wolf with the dramatic music. In sepia.

Truthfully, I was tempted it to the males and go off to the computer or a book.

But it's a good thing I kept watching. Once the boy grew up, he became King Leonidas (Gerard Butler). Xerxes of Persia invades, and Leonidas goes to the Oracle to get... well, basically to get permission to repel the invasion. But the priests are paid off and they advise against it. So Leonidas takes 300 men for a walk.

There's intrigue back home as the Queen tries to send reinforcements, but mostly, it's battle scenes. The fighting did really remind me of the Alerans in Captain's Fury (Codex Alera, Book 4)--the shieldwall type of fighting and the disciplined soldiers were very familiar.

The cinematography continues, with the colored filters and a somewhat dizzying switching between slow motion and fast forward. Here's where knowing what I was getting into might have helped. I've since discovered that 300 is based on a graphic novel that's based on a movie that's based on history. And then it made sense--the cinematography gave it that stylish, surrealistic feel that fits with the graphic novel.

It also made the violence much easier to take for this squeamish viewer.

So, 4 stars, but if I'd known what to expect, I'd probably have enjoyed it a half-star more.