Film review: Alexander
Sunday, January 16th, 2005 10:03 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tamaranthAlexander was ever so much better than I was expecting, though that may say more about my expectations (and my opinion of Colin Farrell) than about the film.
Not to say it's perfect: it's too long, could have done with some serious editing, and there are too many infodumps -- in particular, Ptolemy's opening 'state of the world' piece, though his recollections of war have the authentic air of a veteran recalling his prime.
I understand from my historical advisor that the history is more or less right, too, though I confess my knowledge of Alexander comes primarily from the novels of Mary Renault. (Admirers of The Persian Boy may be disappointed: Bagoas is very pretty in a kohl'd sort of way, but I don't recall him having any dialogue, although his role in the film is a classic example of actions speaking louder than words.)
The film's been slammed for depicting Alexander in a homosexual relationship (shock, horror) with Hephaistion. Gosh, who'd have thought it. There is certainly very little subtext here: it's quite open, and honest, and neither coy nor camp. (I think Stone could have made more of the contrast between Hephaistion and Bagoas, especially since right at the beginning of the film Aristotle's teaching the young Alexander, and his lifelong friends, about the potential merits of loving relationships between men. Relationships entered into solely for pleasure are weakening, he says, but it doesn't have to be that way: a male couple may spur one another to greater glories.)
It's also very clear, in this version, that Alexander has a troubled relationship with his mother. Looking at Olympias (as played by Angelina Jolie) we can hardly blame him. She has a supremely ophidian stare -- I'd have said feline, but there's less playfulness and more patience -- and she levels it at her son at every critical juncture, and a few others. Later, Roxana (Alexander's 'barbarian' wife) is presented very obviously as The Same Sort, down to the snake-bracelet and the (quite justifiable) fury at being manhandled, as Olympias was by Philip. I have a feeling that Olympias' snakes indicate that she's a priestess, but I'm not sure where I got this. Possibly Mary Renault again.
There are two major battle scenes -- the defeat of Darius, at Gaugamela, and a rather less, er, historically distinct melee in India. The battle at Gaugamela is spectacular, and I want to watch it again (even though it's authentically bloody and brutal) to see how Alexander's audacious battle-plan, explained to his officers in the preceding scene, is brought to life by Stone's direction. Oh, and Darius: you can believe that he's the most powerful king Asia has ever seen when, without taking his eyes from his foe, he makes a gesture, and behind his back entire wings of cavalry and infantry mobilise. He doesn't look round, because it is unthinkable that his army would disobey.
I was less impressed by the Indian battle, but by then Alexander was losing it, and it was near the end of the film, and Stone was using some dizzying effects to indicate confusion, injury etc: far more a melee, in the middle of the jungle, opposed by terrible monsters (and, another fine achievement, the elephant-charge was as dramatic as Peter Jackson's Oliphaunts).
The violence throughout is presented unflinchingly, as a necessary part of a soldier-king's life, but it isn't unnecessarily explicit or gory. Ditto the sex. This is not an indulgent film, not in those ways anyway.
The scene I'd watch over and over (and no doubt will, when I have the DVD) is Alexander's triumphal entry into Babylon. It's utterly spectacular, overwhelming, and beautifully shot. And there's the Tower of Babel, just as it appears in Grimmer's painting (is this building still standing, anyone?).
There's so much that I liked and admired and was impressed by -- painted statues! Philip of Macedon's horrific array of scars! primitive paintings beneath the palace! Ptolemy dictating the story to his Egyptian amanuensis! searching for the Outer Ocean in the Hindu Kush! the Babylonian princess who doesn't know the word 'requested', has to be prompted by her interpreter! -- that it's difficult to pick out things that I wasn't happy with. On the whole, I think, it was the length: the film could've been an hour shorter without losing any actual scenes, if we'd had a little less of this one or that one. Less battle, perhaps; less lounging around drinking; less bonding with Bucephalus ... I don't know. The effect of the whole is overwhelming, and I'll bet good money that the director's cut will be even longer.
Oh, and I lost my bet: though it does open (like Troy and King Arthur) with a veteran looking back, it doesn't start off (like all those films, and The Merchant of Venice, and probably at least one of the Rings trilogy, I can't remember) with a wailing female vocal. Oh, there is one, but she doesn't show up until later. And actually, the music (by Vangelis) is, though less dramatic than some recent film scores, pleasantly unobtrusive.
None of the actors bothered me, though hasn't Val Kilmer aged? Angelina Jolie was wonderfully wicked: Colin Farrell was suitably mad, bad and dangerous to know -- with an odd resemblance to Brad Pitt (who allegedly turned down the role of Hephaistion due to 'personal concerns') -- and relentlessly physical, though I still don't care for his looks or demeanour ... Jared Leto (Hephaistion) is rather diffident, but very nice to look at; and very subtle, yet utterly clear, about his character's feelings for Alexander. Alexander, on the other hand, doesn't seem as ... sincere, I suppose, though that isn't the word I want.
Highly recommended, though you too may wish it was shorter, by the end ...
Oh, and what a cheerful note to finish on, from IMDB:
"The biography of Alexander by Oxford University professor Robin Lane Fox was an original inspiration and source of information for director Oliver Stone. As an historical advisor, Professor Fox didn't get an on screen credit; his price for giving his advice was to be allowed to take a place at the head of what is one of the largest cavalry charges ever filmed. Professor Fox was used to riding around the English countryside, but gladly dressed up as a Macedonean cavalry officer to live his dream of charging for Alexander."
Not to say it's perfect: it's too long, could have done with some serious editing, and there are too many infodumps -- in particular, Ptolemy's opening 'state of the world' piece, though his recollections of war have the authentic air of a veteran recalling his prime.
I understand from my historical advisor that the history is more or less right, too, though I confess my knowledge of Alexander comes primarily from the novels of Mary Renault. (Admirers of The Persian Boy may be disappointed: Bagoas is very pretty in a kohl'd sort of way, but I don't recall him having any dialogue, although his role in the film is a classic example of actions speaking louder than words.)
The film's been slammed for depicting Alexander in a homosexual relationship (shock, horror) with Hephaistion. Gosh, who'd have thought it. There is certainly very little subtext here: it's quite open, and honest, and neither coy nor camp. (I think Stone could have made more of the contrast between Hephaistion and Bagoas, especially since right at the beginning of the film Aristotle's teaching the young Alexander, and his lifelong friends, about the potential merits of loving relationships between men. Relationships entered into solely for pleasure are weakening, he says, but it doesn't have to be that way: a male couple may spur one another to greater glories.)
It's also very clear, in this version, that Alexander has a troubled relationship with his mother. Looking at Olympias (as played by Angelina Jolie) we can hardly blame him. She has a supremely ophidian stare -- I'd have said feline, but there's less playfulness and more patience -- and she levels it at her son at every critical juncture, and a few others. Later, Roxana (Alexander's 'barbarian' wife) is presented very obviously as The Same Sort, down to the snake-bracelet and the (quite justifiable) fury at being manhandled, as Olympias was by Philip. I have a feeling that Olympias' snakes indicate that she's a priestess, but I'm not sure where I got this. Possibly Mary Renault again.
There are two major battle scenes -- the defeat of Darius, at Gaugamela, and a rather less, er, historically distinct melee in India. The battle at Gaugamela is spectacular, and I want to watch it again (even though it's authentically bloody and brutal) to see how Alexander's audacious battle-plan, explained to his officers in the preceding scene, is brought to life by Stone's direction. Oh, and Darius: you can believe that he's the most powerful king Asia has ever seen when, without taking his eyes from his foe, he makes a gesture, and behind his back entire wings of cavalry and infantry mobilise. He doesn't look round, because it is unthinkable that his army would disobey.
I was less impressed by the Indian battle, but by then Alexander was losing it, and it was near the end of the film, and Stone was using some dizzying effects to indicate confusion, injury etc: far more a melee, in the middle of the jungle, opposed by terrible monsters (and, another fine achievement, the elephant-charge was as dramatic as Peter Jackson's Oliphaunts).
The violence throughout is presented unflinchingly, as a necessary part of a soldier-king's life, but it isn't unnecessarily explicit or gory. Ditto the sex. This is not an indulgent film, not in those ways anyway.
The scene I'd watch over and over (and no doubt will, when I have the DVD) is Alexander's triumphal entry into Babylon. It's utterly spectacular, overwhelming, and beautifully shot. And there's the Tower of Babel, just as it appears in Grimmer's painting (is this building still standing, anyone?).
There's so much that I liked and admired and was impressed by -- painted statues! Philip of Macedon's horrific array of scars! primitive paintings beneath the palace! Ptolemy dictating the story to his Egyptian amanuensis! searching for the Outer Ocean in the Hindu Kush! the Babylonian princess who doesn't know the word 'requested', has to be prompted by her interpreter! -- that it's difficult to pick out things that I wasn't happy with. On the whole, I think, it was the length: the film could've been an hour shorter without losing any actual scenes, if we'd had a little less of this one or that one. Less battle, perhaps; less lounging around drinking; less bonding with Bucephalus ... I don't know. The effect of the whole is overwhelming, and I'll bet good money that the director's cut will be even longer.
Oh, and I lost my bet: though it does open (like Troy and King Arthur) with a veteran looking back, it doesn't start off (like all those films, and The Merchant of Venice, and probably at least one of the Rings trilogy, I can't remember) with a wailing female vocal. Oh, there is one, but she doesn't show up until later. And actually, the music (by Vangelis) is, though less dramatic than some recent film scores, pleasantly unobtrusive.
None of the actors bothered me, though hasn't Val Kilmer aged? Angelina Jolie was wonderfully wicked: Colin Farrell was suitably mad, bad and dangerous to know -- with an odd resemblance to Brad Pitt (who allegedly turned down the role of Hephaistion due to 'personal concerns') -- and relentlessly physical, though I still don't care for his looks or demeanour ... Jared Leto (Hephaistion) is rather diffident, but very nice to look at; and very subtle, yet utterly clear, about his character's feelings for Alexander. Alexander, on the other hand, doesn't seem as ... sincere, I suppose, though that isn't the word I want.
Highly recommended, though you too may wish it was shorter, by the end ...
Oh, and what a cheerful note to finish on, from IMDB:
"The biography of Alexander by Oxford University professor Robin Lane Fox was an original inspiration and source of information for director Oliver Stone. As an historical advisor, Professor Fox didn't get an on screen credit; his price for giving his advice was to be allowed to take a place at the head of what is one of the largest cavalry charges ever filmed. Professor Fox was used to riding around the English countryside, but gladly dressed up as a Macedonean cavalry officer to live his dream of charging for Alexander."
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no subject
Date: Sunday, January 16th, 2005 12:11 pm (UTC)no subject
Date: Sunday, January 16th, 2005 12:26 pm (UTC)no subject
Date: Sunday, January 16th, 2005 12:25 pm (UTC)RLF is a tall gangly chap like a daddylonglegs; he used to drape himself over the back on an armchaor and rock it back and forth; I *must* see him in the cavalry!
no subject
Date: Sunday, January 16th, 2005 01:30 pm (UTC)I haven't seen him in ages - the last time was at a demonstration of the Hydraulis (a water-powered organ) in London, and I didn't get the chance to speak to him then. But he's at a conference I'm going to in April, and I hope to get the chance to say hello then.
no subject
Date: Monday, January 17th, 2005 12:25 pm (UTC)no subject
Date: Sunday, January 16th, 2005 01:02 pm (UTC)no subject
Date: Sunday, January 16th, 2005 01:32 pm (UTC)no subject
Date: Sunday, January 16th, 2005 01:27 pm (UTC)no subject
Date: Sunday, January 16th, 2005 10:37 pm (UTC)And I have a feeling they may well have aged Val up a bit.