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Troy 2004 |
Review by Jonathan Cornwell |
Directed by Wolfgang Petersen
R, 162 min. (graphic violence, some sexuality/nudity) |
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Starring: Brad Pitt, Eric Bana, Orlando Bloom, Diane Kruger, Sean Bean, Peter O'Toole, Brendan Gleeson, Brian Cox, Julie Christie, Saffron Burrows, Julian Glover, Rose Byrne
Producers: Wolfgang Petersen, Diana Rathbun, Colin Wilson
Screenplay: David Benioff
Cinematography: Roger Pratt
Distributor: Warner Brothers
Released: 5.14.04 (Wide) |
Rating:
 (out of ) |
Troy aspires to be an epic period piece in the tradition of Gladiator, but instead finds itself in the company of a
similarly miscalculated The Alamo.
Directed by Wolfgang Peterson (Das Boot), the film is shackled by an internal conflict; it eminates grandiose battle
sequences, yet it is restrained with an introspective somberness that shrouds the proceedings. Peterson and his screenwriter,
David Benioff (who penned the brilliant 25th Hour),
seem unsure of their purpose, rallying around awe-inspiring scenes of war and personal battles but timid in their portrayal
of Homer's (The Iliad, on which the film is based) clearly-defined characters. As a result, Troy shines in its
moments of heroic spectacle on a large scale, while muting its themes in a subdued, almost mundane manner.
Perhaps the film's most disappointing aspect comes in the light of its embarassment of riches (reportedly budgeted at near
$200 million) - despite the "spare no expense" mentality of the project, Troy isn't able to connect on the emotional level
it should, especially considering the fact that the Trojan War was inspired by the beauty of one woman. Peterson's most
glaring mistake is in some of his casting choices. Although Brad Pitt is a good actor and more than capable of carrying a
film, he's simply miscast as the legendary Achilles, the greatest warrior in the world. The camera is fond of his bronze skin
and indulges in multiple shots of his beefed-up physique. It's as if Peterson was more interested in the character's appearance
than any accurate portrayal of his larger-than-life persona. Pitt's hesitant, more nuanced interpretation
of the hero doesn't fit Homer's confident, unflinching hero. As such, Pitt's indecisive, almost weepy character forces the viewer
to search for another protagonist. And that man is Hector, the prince of Troy, played with heartfelt zeal by Eric Bana, who
by himself almost saves the picture from mediocrity. As long as Hector is alive, the film has a center; when he's gone, so
goes Troy (both the film and the city).
The film maintains the broad outline of Homer's story but is peculiarly absent of the gods and their meddling in the affairs
of men. When Helen of Sparta (Diane Kruger) accompanies Paris of Troy (Orlando Bloom) back to the great city, he has
given the motivation and means necessary for Agamemnon (Brian Cox), ruler of Greece, to launch an offensive on his greatest conquest.
Although his brother's - Menelaus (Brendan Gleeson) - honor must be protected, this is his opportunity to rule the known
world. Yet as Greece sails in a thousand ships to make war, Agamemnon's great general, Odysseus (Sean Bean), knows
they must enlist the services of Achilles (Pitt), a man whose legend commands his own band of followers and whose
motivations concern immortality. Entrusted to defend Troy is Hector (Bana), whose father, King Priam (Peter O'Toole),
chooses to honor his other son's (Paris) love for Helen rather than heed Hector's advice to sail her back to Greece.
The inevitable round of battles ensues, as the Greeks find it difficult to penetrate the city's walls. In the midst of the
struggle, Achilles and Hector will clash for personal reasons.
The showdown between Hector and Achilles is the highlight of an otherwise by-the-numbers war epic. Hector has inadvertantly
killed Achilles' cousin, Patroclus (newcomer Garrett Hedlund), in a surprise attack by the Trojans on the Greeks camping on
the beachfront during the early morning hour, because Patroclus claimed Achilles' armor and led a furious counter-attack
to no avail (this provides the film's most ludicrous scene as thousands of men in battle seemingly stop to watch the fight
between Hector and Patroclus - who everyone thinks is Achilles). Achilles' rage cannot be contained, and he rides to
Troy's gate and challenges Hector to a duel for the ages, which he accepts. Peterson has crafted one of the better fight
scenes in recent memory, thrilling and dangerously authentic. Fight techniques were thoroughly researched, and the
choreography is top notch. Unfortunately for the film, when the squirmish ends, so does the more meaningful aspects
of the picture.
There is also a quiet scene that steals the spotlight from the action sequences. King Priam has come to Achilles' tent under the
cover of darkness to plead for his son's body, for a proper burial. Here O'Toole, who reminds us why he was one of his
generation's best actors (see Lawrence of Arabia), fully inhabits the well-worn face of a man who has seen all that life has to offer yet understands what's
truly meaningful in the twilight of his reign. Pitt is more adept here, as it allows him to converse with feeling and pathos,
and the poignance of the moment is remembered long after the war has ended. Peterson believes that Homer's larger-than-life
figures were also men, vulnerable and contemplative of the folly of war. Whether one appreciates this interpretation will
likely determine their opinion of Troy as a whole, as Peterson's film seeks to be judged on its own terms rather
than to any strictly adherent literate rendering.
Also, Troy has a conclusion that fails to mesh with a storyline that builds to a climax, which quickly portrays the
Trojan horse deception and the fall of Troy in an almost hit-and-run fashion. Although the audience has waited patiently
through nearly two-and-a-half hours to appreciate this infamous moment, the film spends only ten minutes to wrap up
all the loose ends. It comes across as a cheat, especially since many viewers would rather Peterson focus his story around
the meticulous details of the mistake that brought the might city to its knees. There is only partial closure, and when it's
over, it's over. For a picture of this magnitude (and budget), a better finale might have made the difference between an
uneven or triumphant effort.
The performances are as hit-and-miss as the film's worth. Although O'Toole and Bana (in his best effort since Chopper) carry the picture, Gleeson
and Cox enjoy their roles immensely, adaquately providing the motivations of revenge and greed that drive the Greeks
onward. Bloom and newcomer Diane Kruger are on hand more for scenery than relevancy, though the former is given
the opportunity to play a lover-turned-coward-turned-avenger. Finally, Rose Byrne plays the slave girl that captures
Achilles' heart amidst the carnage.
Peterson's effort is bolstered by the sun-drenched cinematography of Roger Pratt, who has the unenviable task of
capturing urgency in battle in the light of the recent Lord of the Rings trilogy, which pretty much set the standard for years
to come. And James Horner's score is strange if not perfunctory, with drumbeats that match the soldiers' willingness to throw
themselves into the abyss of war. Troy will certainly draw comparisons to other epic films in the genre, and
though it portrays the scope and majesty of its subject matter effectively, its lackluster personal dramas subject the
audience to a distinctively bittersweet experience.
© 2004 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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