Friday, March 9

Battle of the Manly Men: Blood Bath With a Message

The New York Times
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“300” is about as violent as “Apocalypto” and twice as stupid. Adapted from a graphic novel by Frank Miller and Lynn Varley, it offers up a bombastic spectacle of honor and betrayal, rendered in images that might have been airbrushed onto a customized van sometime in the late 1970s. The basic story is a good deal older. It’s all about the ancient Battle of Thermopylae, which unfolded at a narrow pass on the coast of Greece whose name translates as Hot Gates.

Hot Gates, indeed! Devotees of the pectoral, deltoid and other fine muscle groups will find much to savor as King Leonidas (Gerard Butler) leads 300 prime Spartan porterhouses into battle against Persian forces commanded by Xerxes (Rodrigo Santoro), a decadent self-proclaimed deity who wants, as all good movie villains do, to rule the world.

The Persians, pioneers in the art of facial piercing, have vastly greater numbers — including ninjas, dervishes, elephants, a charging rhino and an angry bald giant — but the Spartans clearly have superior health clubs and electrolysis facilities. They also hew to a warrior ethic of valor and freedom that makes them, despite their gleeful appetite for killing, the good guys in this tale. (It may be worth pointing out that unlike their mostly black and brown foes, the Spartans and their fellow Greeks are white.)

But not all the Spartans back in Sparta support their king on his mission. A gaggle of sickly, corrupt priests, bought off by the Persians, consult an oracular exotic dancer whose topless gyrations lead to a warning against going to war. And the local council is full of appeasers and traitors, chief among them a sardonic, shifty-eyed smoothy named Theron (Dominic West, known to fans of “The Wire” as the irrepressible McNulty).

Too cowardly to challenge Leonidas man to man, he fixes his attention on Queen Gorgo (Lena Headey), a loyal wife and Spartan patriot who fights the good fight on the home front. Gorgo understands her husband’s noble purpose, the higher cause for which he is willing to sacrifice his life. “Come home with your shield or on it,” she tells him as he heads off into battle after a night of somber marital whoopee. Later she observes that “freedom is not free.”

Another movie — Matt Stone and Trey Parker’s “Team America,” whose wooden puppets were more compelling actors than most of the cast of “300” — calculated the cost at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that “300” aspires to become. Its digitally tricked-up color scheme, while impressive at times, is hard to tolerate for nearly two hours (true masochists can seek out the Imax version), and the hectic battle scenes would be much more exciting in the first person. I want to chop up some Persians too!

There are a few combat sequences that achieve a grim, brutal grandeur, notably an early engagement in which the Spartans, hunkered behind their shields, push back against a Persian line, forcing enemy soldiers off a cliff into the water. The big idea, spelled out over and over in voice-over and dialogue in case the action is too subtle, is that the free, manly men of Sparta fight harder and more valiantly than the enslaved masses under Xerxes’ command. Allegory hunters will find some gristly morsels of topicality tossed in their direction, but you can find many of the same themes, conveyed with more nuance and irony, in a Pokémon cartoon.

Zack Snyder’s first film, a remake of George Romero’s “Dawn of the Dead,” showed wit as well as technical dexterity. While some of that filmmaking acumen is evident here, the script for “300,” which he wrote with Kurt Johnstad and Michael B. Gordon, is weighed down by the lumbering portentousness of the original book, whose arresting images are themselves undermined by the kind of pomposity that frequently mistakes itself for genius.

In time, “300” may find its cultural niche as an object of camp derision, like the sword-and-sandals epics of an earlier, pre-computer-generated-imagery age. At present, though, its muscle-bound, grunting self-seriousness is more tiresome than entertaining. Go tell the Spartans, whoever they are, to stay home and watch wrestling.

“300” is rated R (Under 17 requires accompanying parent or adult guardian). Much butchery, some lechery.