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Troy | ||||
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R E V I E W B Y R I C H C L I N E |
dir Wolfgang Petersen scr David Benioff with Brad Pitt, Eric Bana, Orlando Bloom, Diane Kruger, Brian Cox, Peter O'Toole, Sean Bean, Brendan Gleeson, Rose Byrne, Saffron Burrows, Tyler Mane, James Cosmo, Garrett Hedlund, Julian Glover, Nigel Terry, Julie Christie release US/UK 14.May.04 Warner 04/US 2h45 ![]() Get it off your chest: Bana and Bloom (above); Byrne and Pitt (below) ![]() ![]()
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Achilles (Pitt) is the rebellious star warrior in the Greek empire being built by King Agamemnon (Cox) as he conquers the region's kingdoms one-by-one. Then two princes from Troy, Hector and Paris (Bana and Bloom), abscond with Helen (Kruger), wife of King Menelaus (Gleeson), who happens to be Agamemnon's brother. This gives Agamemnon an excuse to attack Troy with the goal of annexing it to the empire as well. But the Trojan King Priam (O'Toole) has built a mighty fortress on the sea. And even with 1,000 ships and an inspiring fighter like Achilles, Agamemnon is going to have to think of something clever to get in.... OK we all know where the story's going; even if we've never read Homer, this is the tale that launched a thousand cliches! But instead of going for period authenticity or intriguing subtext, the filmmakers turn the saga into a typical action epic. Still, the inventiveness of the narrative shines through: This is a story without a villain! We are drawn into both sides through each character's honour (or lack thereof). And the cast bring this out beautifully: Pitt shows Achilles' deep-rooted sense of honour even as he acts like a spoiled rock star. Bloom brings out Paris' inexperience and cowardice, even as he discovers resolve in his romance with Helen. And best of all, Bana really captures Hector's struggle to balance the demands of family and kingdom. Meanwhile, Petersen directs with a steady hand--the film looks fabulous! The effects are seamless (it helps that a cast of thousands was actually on hand, even if they look like 100,000 on screen), battles are exciting, and sets and costumes are lovely, if too movie-ish (is it my imagination or is Pitt's designer leather skirt about four inches shorter than everyone else's?). Where the film wobbles is in its silly script, which includes painfully corny lines of dialog that only old hams like O'Toole or bulldogs like Cox can deliver convincingly. If Petersen and Benioff had stayed truer to the original tale and resisted Hollywood's tendency to dumb-down the story and big-up the production design, it could have been masterful.
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Phil, Amersham:
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