- With soaring photography that circles from above then swoops in for the action, TROY is Wolfgang Petersen’s majestic presentation of theic Greek legend. It tells the story of an epic battle over Helen (Diane Kruger), the queen of Sparta, who is kidnapped by her lover Paris (Orlando Bloom), the prince of Troy. This infuriates Helen’s husband Menelaus (Brendan Gleeson), whose brother Agamemn
Homer’s epic tragedy ‘The Iliad’ provides the backdrop for the story of the ancient Greek city of Troy. When Paris, the son of the king of Troy, falls in love with Helen, the wife of the king of Sparta, the result is an epic war that will be remembered throughout history. The king of Sparta, asks his brother, Agamemnon, to unite the kings of Greece to do battle with Troy for the honor of Helen. Odysseus is dispatched to recruit Achilles, the greatest warrior in all the world, to fight for Greece. Unable to breach the walls of Troy, Odysseus conjures up a plan that will give the upper hand in the war to Greece.There are many reasons to recommend Troy as a good ol’ fashioned Hollywood epic, especially if you’ve never read Homer’s The Iliad. Dispensing with Greek gods altogether, this earnestly massive production (budgeted at upwards of 0 million) will surely offend historians and devoted students of the classics (for them, there’s the History Channel’s Troy). But there’s politics aplenty in the grand-scale war that erupts when Trojan prince Paris (Orlando Bloom) makes off with Helen (blandly beautiful German model Diane Kruger), wife of Spartan ruler Menelaus (Brendan Gleeson), whose brother, the Greek king Agamemnon (Brian Cox) prods him into enraged retaliation. Greek warrior Achilles (Brad Pitt) brings lethal force to his battles (and there are many of them, mostly impressive), and his Trojan counterpart, Paris’s brother Hector (Eric Bana), adds even more buffed-up beefcake to a film so chock-full o’ hunks that there’s barely room for Peter O’Toole (doing fine work as Trojan king Priam) and even less for Julie Christie, appearing ever-so-briefly as Achilles’s melancholy mother. The drama is nearly as arid as the sun-baked locations (Mexico and Malta) that stand in for the Aegean coast, and many critics suggested that Pitt (who valiantly tries to give Achilles some tormented dimension) was simply miscast. But when you consider that Wolfgang Petersen also made The Perfect Storm, there’s nothing wrong with enjoying Troy as a semi-guilty pleasure with a touch of ancient class. –Jeff Shannon
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December 12, 2010
#1
Director’s cut gives additional depth and scope to an impressive looking film,
Features 2 new extras: “Troy In Focus” a 23 minute interview and a new 5 minute introduction by Wolfgang Peterson. Most of the other special features have been ported over from the previous edition.
First the most important question is whether or not this double dip is worth it? Absolutely because the additional footage only enhances the film giving it additional depth. The transfer is striking (regardless of which format)as well. In many respects this isn’t a double dip because we get a film that is superior to the original version.
Unlike “The Illiad” Wolfgang Petersen’s film “Troy” seemed too short and for good reason; Petersen had to trim the film down to a shorter length for its theatrical release. Luckily Warner gave Petersen the opportunity to revisit this epic film and add more meat to the bones of a film that had the look of an epic but was missing much of the emotional depth.
Petersen restores roughly 32 minutes to the film giving additional depth to the various relationships in the film. While “Troy” isn’t a perfect epic, it’s much improved. James Horner’s score is still occasionally obtrusive but the overall impact of Petersen’s film with its marvelous performances from Brian Cox (who steals almost every scene he’s in), the quiet power of Eric Bana and even the gravity of Pitt as Achilles is far more effective than the previous version.
Image quality is superb for both the DVD and Blu Ray verisons of the film (the Blu Ray, of course, gets the nod because the images are much sharper, crisper with better definition but the DVD isn’t too shabby either). Audio for the Blu Ray is presented lossless while the DVD’s audio sounds terrific given the limitations of the format. Colors are a bit bolder here than on the previous version to my eyes.
It appears that a lot of the special features from the previous edition have been ported over and the only new things are the introduction by Petersen as well as a retrospective 23 minute interview where Petersen discusses the genesis of the original film and this project.
This film version much more closely resembles what he had in mind when he took on the project. Greek mythology purists will find some of the changes disturbing but some of the changes enhance the film pulling the strands of the story together a little tighter.
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|December 12, 2010
#2
Brad Pitt might be Achilles but David Benioff is no Homer,
As a teacher of Classical Greek and Roman Mythology I was looking forward to “Troy.” In the past I have put together a unit on the Trojan War that included not only Homer’s epic poem the “Iliad,” but also the plays of Euripides and Aeschylus and other ancient works on the stories of these characters. In other words I am familiar with this story to the extent that when Briseis showed up wearing a garment with long sleeves I was upset that we did not get to see the lovely arms that were part of her usual epithet. So, suffice it to say, that when characters who survived the Trojan War started dying in this film, I was not exactly happy. Consequently, the truth is that the less you know about the Trojan War of classical mythology, the more you will enjoy Wolfgang Petersen’s “Troy.”
I have no problem with the idea that Homer and the other ancients have to be adapted in making a modern motion picture about the Trojan War. The decision to eliminate the gods is appropriate, getting away from the idea that this was a ten year war makes sense, and if the alliance of the Greeks is now political rather than as part of an oath sworn by the princes who were suitors for Helen’s hand, I consider that to be legitimate. I do not understand why Iphigenia, Cassandra, and Hecuba are all eliminated but there are not fatal omissions. But when you start rewriting who gets killed that is going a bit too far, especially when one premature death starts a chain effect that means Athens will never develop the jury system, which means we probably lose out on it too. David Benioff’s screenplay was “inspired” by Homer’s “Iliad,” which at least is an honest way to characterize what he did in this script, but I still do not have to like it or endorse it.
The big selling point for this film was not Homer but rather Brad Pitt as Achilles. Stories abound about how Pitt worked six months to get in shape for this film, gave up smoking, and ended up hurting his Achilles tendon in one of those profound ironies that indicates that maybe the gods were not pleased with what was happening in this film. Pitt certainly looks good, not just in terms of taking several opportunities to display the line of his nude body, but in how he carries himself as Achilles. The whole idea is that this guy is the greatest warrior on the face of the planet and Pitt exudes that with the way he strides across the sands of Troy. Even more impressive is the choreography for the fights, because Pitt’s movements are so smooth and powerful, especially compared with that of Eric Bana’s Hector, that you do not doubt that this guy is in a league by himself as a warrior. I also like the way he uses the distinctive form of his shield when fighting. They thought this part out quite a bit.
The fight choreography was worked out by Simon Crane, the film’s stunt coordinator and second unit director, who describes Achilles as fighting with a boxing style but with the velocity of a speed skater and the agility of a panther. They also come up with a nice touch in that Achilles looks slightly to the side at his opponent until he is ready to come in for the kill. The best fight sequences of “Troy” are when Achilles is fighting. The giant battle sequences of computerized soldiers are not as impressive, mainly because the camera is always in motion and the cutting is so fast that we are left with an impression of the battle rather than always being able to tell what is going on (which has become my constant complaint with most movies with large battle sequences).
Bana does a good job of capturing Hector’s nobility without turning him into a marble statue, while Peter O’Toole fills the role of Priam naturally. On the Trojan side the problematic character is Paris (Orlando Bloom), again because of the writing more than the performance. Priam has negotiated peace between Troy and the Sparta of King Menelaus (Brendan Gleeson), but that is destroyed when Paris persuades Helen (Diane Kruger) to run away with him. Both Hector and Priam know that Paris is wrong and their reasons for supporting him and thereby dooming Troy ring hollow (the less than stellar “Helen of Troy” television miniseries did a nice job of providing a solid motivation for the Trojans to protect Helen).
It you want to draw a clear distinction between Homer’s story of Achilles and that of Benioff it is that the former is about the rage of Achilles (see the first line of the “Iliad”) and the latter adds an equally strong love element. The one character whose role is most inflated in this version is that of Briseis (Rose Byrne), the Trojan slave girl who comes between Achilles and Agamemnon (Brian Cox), the king of kings for the Greeks. This change becomes the reasoning behind how the film rewrites the end game of the Trojan War, although I still do not understand why some of the key characters get to live happily ever after. But since Pitt’s performance dominates…
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|December 12, 2010
#3
“May the gods keep the wolves in the hills. . .”,
An ancient poem and a motion picture are two entirely different mediums, and should be judged accordingly. We as viewers (well, most of us) cut Peter Jackson some slack with his deviations from Tolkien’s “Lord of the Rings,” and we ought to give the same consideration to Wolfgang Petersen, who brings Homer’s classic to vivid, sweaty life. And not only does Petersen pull off a cinematic coup, he makes watching TROY an outright fun and thrilling experience.
The film centers around two characters–and they are not Helen and Paris. A beefed-up Brad Pitt plays Achilles, a fierce Greek warrior who is literally unbeatable. Yet Achilles is anything but a nice person: he is self-centered and pretentious, and he fights on his terms, often to the detriment of his countrymen. Achilles has but one quest: to be immortalized through history, and the Greek siege of Troy provides him the perfect opportunity. For such a shallow, narcissistic character, Pitt is perfectly suited for the role.
Eric Bana, on the other hand, steals the show as Hector, Prince of Troy. Hector is a good, kind, and decent man who loves his family and his country. Faced with having to clean up the mess after his brother Paris (Orlando Bloom) brings Helen of Sparta (Diane Kruger) to his beloved land, Hector leads the Trojan army against the Greek invaders; his showdown with Achilles is inevitable, and is also the film’s defining moment.
Yet TROY is bursting at its wooden horse seams with other memorable performances, including a frail Peter O’Toole as Trojan King Priam, and his scene-chewing counterpart Brian Cox, who plays greedy King Agamemnon. Brendan Gleeson and Sean Bean are superb, too, as Greek kings Menelaus and Odysseus, while Bloom is less than stellar as a peach-fuzzed, pusillanimitic Paris.
Director Petersen delivers a grand epic complete with stunning cinematography, fierce action, imaginative special effects, and a spellbinding story. His film does not detract, but instead enhances, Homer’s classic. In the words of King Menelaus of Sparta: “May the gods keep the wolves in the hills and the women in our beds.” How can an epic go wrong with a line like that?
–D. Mikels
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