The “sword and sandal” genre
of films had a humble beginning in the late 1950s when American strongman Steve
Reeves starred in the Italian production of Hercules
(1959). This badly dubbed, low-budget actioner sported the magnificent physique
of Reeves, lush color cinematography, beautiful women, so-so special effects
and some pretty good action sequences. It was an international success, opening
the floodgates for a veritable deluge of similar films featuring Hercules,
Goliath, Machiste and assorted other mythical strongmen. The vast majority of
these films are bad but vastly enjoyable for what they are: micro-budget
fantasies with a heavy emphasis on muscles. The cycle ran for several years
before finally dying out in the mid-‘60s.
But “sword and sandal” films, with their weird mash-ups of Greek and Roman myths and history, weren’t relegated to Grade Z Italian films. Special effects wizard Ray Harryhausen’s magnum opus, Jason and the Argonauts (1963) is still far and away the best of the fantasy oriented s&s films and Hollywood produced its’ share of big budget, historical epics set in ancient times. While not technically “sword and sandal” films, such works as Ben-Hur (1959), Cleopatra (1963), The Fall of the Roman Empire (1964) and El Cid (1961), are all grand scale epics which contain some s&s elements.
The genre eventually died
out, only to be revived by director Ridley Scott with his Academy Award winning
Gladiator (2000), which won six
Oscars including Best Picture, Best Actor (Russell Crowe), Best Costume Design,
Best Visual Effects and Best Sound. Gladiator,
chock full of CGI effects, impressive battle sequences and numerous fights to
the death in the gladiatorial arena was a digital bread and circus for modern
audiences. The success of the film has led to several other ancient spectacles
over the last dozen years including: Troy
(2004), Alexander (2004) and 300 (2006), among others. All of these
films, given the spit and polish of modern film technology, look great but none
of them are fit to hold the cestus of another earlier work which defined the
genre and to which they all owe a tremendous debt.
We speak of course of Stanley Kubrick’s Spartacus. Originally planned to be directed by Anthony Mann, producer Kirk Douglas fired Mann after a few days of shooting and replaced him with Kubrick, with whom he had worked on Paths of Glory (1957). Although Kubrick himself was disappointed in this saga about the legendary hero (superbly played by Douglas), who led a slave revolt against Rome in 71 B.C., it has come to be regarded as the best of the “s&s” historical epics.
At first glance, Spartacus appears to be an atypical
Kubrick film as it is shot in a straight-forward, studio style (indeed, many
scenes were filmed on Universal Studios’ back lot) and as such, contains very
little of Kubrick’s signature visual flourishes. But from a thematic
standpoint, the film fits neatly into the Kubrick oeuvre as it deals with the
dehumanization of man (slaves) at the hands of a cold, unfeeling machine
(Imperial Rome).
At the beating heart of the
film is a spirited, emotionally charged performance by Kirk Douglas, a
superlative supporting cast headed by Jean Simmons as the slave girl Varinia
(Spartacus’s true love) and Laurence Olivier as the Roman schemer Crassus
(Spartacus’s mortal enemy). There are outstanding battle sequences shot on real
locations with literally thousands of extras, a strong sense of time and place
and a heavy emphasis on sex. This is one of the few epic films in which even
the dialogue scenes are fascinating to watch. The palace bath chats between
Olivier, John Gavin (Julius Caesar), Charles Laughton and other shrewd Roman
politicos are interesting not only because they reveal political motives for
wanting Spartacus and his memory destroyed but also because there are strong
intimations of homosexuality, especially in the restored sequence with Olivier
(whose dialogue was dubbed by Anthony Hopkins) and Tony Curtis.
But the film’s major
distinction is the screenplay, adapted from Howard Fast’s novel by Dalton
Trumbo (his first work after being blacklisted in Hollywood for several years).
The script has a genuine revolutionary spirit that is reflected in Spartacus’s
many stirring speeches to his army of followers. Trumbo also establishes,
through the words and deeds of Crassus, the true nature of a fascist. Other
highlights include Spartacus being forced by his Roman captors to a fight to
the death with a fellow slave (Strode), Laughton and slave dealer Peter Ustinov
having a gluttonous meal together, Simmons’ nude swim, the fireballs being
launched at the start of the start of the enormous battle sequence and the scene
in which the Romans try to determine which of the captured rebels is the real
and true Spartacus while each man proudly proclaims, “I’m Spartacus!”
Spartacus
received six Academy Award nominations including: Best Supporting Actor
(Ustinov, winner), Best Color Cinematography (winner), Best Color Costume
Design (winner), Best Color Art Direction-Set Decoration (winner), Best Editing
and Best Score.
After its’ initial release, Spartacus suffered severe cuts and overall dismal treatment over the years. In 1991, a fully restored version was released which brought the film back to glorious life. The Paramount Theatre is proud to present this restored version of Spartacus in the grandeur of 70mm. If you’ve only seen this film on television or DVD, you haven’t really seen it. This format truly brings to life “the power of Rome.”
The erotic bath scene was originally filmed with Frank Sinatra and Sammy Davis Jr playing bather and bathee.
ReplyDeleteAt one point, Sinatra declares to Davis "Put on your best dress baby, and I'll take you out and buy you the biggest steak in town!"
This was prior to Sinatra's decision to only play with a one-man band.