"no gods or gay men but a whole lot of Llamas." The guardian. Guardian News and Media limited, 28 Aug. Helen of Troy was the wife of King Menelaus. Her abduction by paris, the Prince of Troy, is the known cause of the Trojan War. The dates The beginning of the film notes that the war took place about 3200 years ago (about 1196 bc since the movie was released in 2004). This is historically accurate. Many of the fight scenes are unrealistic and overly dramatized.
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Although the movie is in many places inaccurate, it does not add fictional characters to the story or give specific dates. Achilles, achilles was a greek hero of the Trojan War. He is known for defeating Hector outside the gates. He was killed by paris, who shot resume him in the heel with an arrow towards the end of the Trojan War. Helen of, troy, scott,. Film, review : Greeks bearing Immortality." The new York times. The new York times Company, 14 Mar. "History of the Trojan War." History of the Trojan War. "The Truth about ' troy. The cincinatti Enquirer, 20 Mar. A e television Networks,.writing
Historically, menelaus did not die during the Trojan War. Another misinformed aspect of write the film is Achilles' supposed "cousin patroclus. According to classical history and myth, patroclus was, in fact, Achilles' lover. While his disguise of Achilles did lead to his death, the facts behind his character were misconstrued in the film. Another falsity in the film is in the realm of religion. Petersen, the director of the film, did not incorporate the influence of the gods in the decisions made by the Greek leaders. The gods were a major factor in Greek society, but the film mentioned them on a limited scale. Bibliography, the names and dates are generally accurate.
Troy, making it a very difficult city to conquer. Some inaccuracies with set design, however, include the following: The Scamander river ran across the front plains. Troy, yet this was not depicted in the film. Historical Perspective, summary, the Trojan War task was an epic siege that occurred around 1250 bc between the Greek and Trojan forces. Iliad is a poetic version of the events, incorporating historical and mythical aspects into the epic poem. Directed by wolfgang Petersen, resume the movie, troy is seemingly a historical travesty. The 2004 film, supposedly "inspired" by the text of the. Iliad, excluded the religious notions of the time period and was instead an over-dramatized war movie that altered historical facts. Other historical inaccuracies include the fact that, in the film, hector killed Menelaus in front of both armies to save his brother Paris.
Historical Incorrectness, as portrayed in the film, it is depicted that the Trojan War only occurred over the course of seventeen days, yet in reality, the war was a ten year siege between the Greek and Trojan forces. One crucial reason as to why the Trojan War was waged was over the love affair between Helen and Paris, hence the common phrase "the face that launched a thousand ships." Helen fled from Sparta to live with Paris. In the film, helen claims that Sparta was never her home. She explains, "My parents sent me there when I was 16 to marry menelaus." This is historically incorrect considering that her parents were king and queen of Sparta. Helen, herself, chose menelaus, a prince of Mycenae, to be her husband, and he gained the throne of Sparta by marrying her. Are the names and Dates Fictional? Accuracy of Set and Costume design? The costumes throughout the film are historically correct, portraying weaponry and apparel that parallel to those of the time period. The set design is mostly accurate, with a protective wall surrounding the city.
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Troy - unlike the pseudo-warfare in Tolkien's fantasy world - important characters paper with speaking parts actually get killed. Petersen's movie is competently put together, doesn't drag and manages its unwieldy story reasonably well. The narrative focus is diffuse, granted, more diffuse than Gladiator, where russell Crowe was the mighty, bulky point of everything. The problem is milksop blandness in the male leads: Pitt, bana and Bloom, an insipidity matched by everyone's voice for which the default setting is Anglo-rsc. Pitt's face has a doughy, laid-back good-naturedness - a touch less lean than that super-buff bod below - at odds with Achilles' traditional cruelty, single-mindedness and indeed war-weariness. His expression of anger or disdain sometimes makes him look as if his latte isn't sweet enough, and the downplaying of Patroclus's importance leaves his re-entry into the battle sadly unmotivated. Bloom does well with the callow Paris, humiliated by failing to defeat Menelaus in single-combat.
His love affair with Helen strikes no sparks, however, and is marginal to the movie. As for Eric Bana, this is yet another movie which fails to recapture the glorious danger and virility of his role as the psychopathic criminal Chopper. What might Bana not have achieved if he had been cast as Achilles? Eric Bana, like crowe, could have brought a little red-blooded Aussie menace and unreconstructed masculinity to the film. As it is, Troy just rolls evenly across the burning Maltese sands, as stately and inert as that famous horse. Troy : Historically Accurate? By: Elena gottesman, rachel lee, and taylor Wilson.
Troy as a stowaway, to the horror of Hector who knows that it can mean only one thing: war, and plenty. The thousand ships are launched to reclaim Helen and the honour of the Greeks, and the bloody slaughter begins with Achilles sulking in and out of his tent, and finally in the heat of battle leaving the tendon above his heel rashly unprotected. His slave-concubine Briseis (Rose byrne) is here also promoted to "cousin" status - but cousin to hector and Paris, so as Achilles's romantic love interest, she becomes almost a capulet to his Montague. So much for the story of mortal men. But the second story - or rather storey - is missing: that of the immortal gods above, presiding capriciously over the humans' fates and disputing among themselves. Their presence is entirely excised, perhaps on the grounds that yet more snowy-haired Brit actors, wandering round up to their ankles in dry ice carrying thunderbolts, would undermine the sweaty, ardent seriousness of Brad, Orlando et al down below.
But there is a case for cutting the humans and just making it their story: The passion of the zeus, performed entirely in ancient Greek. In single combat, Brad's Achilles has a distinctive fighting style. He favours the long run-up and then a sort of exuberant, tarantella-style jump to the victim's right, knees high, and the sword is plunged round into the opponent's momentarily exposed back. This he does often enough to signal to the enemy, i should have thought, that an armour re-design was needed. Then there is the mass spectacle: the arrival of the Greek armada, the clash of the armies on the plain, the contest outside the walls. Troy, where hector is to be dishonoured. Peter Jackson's Tolkien trilogy, it has to be said, outclasses these scenes. But it is worth pointing out that.
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Cut to: Warner Brothers exterior. You are flung bodily out into the red street to a shout of: "And stay out.". The 200m mega-summer- movie, troy, in fact, smooths away the more heterodox aspects of the pre-Christian world, while attempting a vaster narrative canvas than in Homer's resume Iliad. Where the poem shows merely some of the final days of the siege, david Benioff's screenplay, directed by wolfgang Petersen, compresses the entire 10-year saga into two hours and 40 minutes, and for the big finale absorbs the famous Trojan horse from Homer's great work. Brad Pitt is the exquisitely contoured Achilles, a highly-strung thoroughbred of a warrior who resents answering to the conceited Greek king Agamemnon, played by Brian Cox, part of the raft of Brit character actors who, according to ancient Hollywood law, play venerable small parts. Peter o'toole is the Trojan King Priam and Julie christie is still delicately beautiful as Achilles's mother Thetis. Achilles's friend Patroclus (Garrett Hedlund) is here transformed into his "cousin" - a puppyish young warrior whose enthusiasm is forever being restrained by the wiser, older Achilles. In the Trojan camp, Orlando Bloom is Paris, handsome son of King Priam. While on a diplomatic mission with his brother Hector (Eric Bana) to the Spartan King Menelaus (Brendan Gleeson paris falls in love with Menelaus's queen Helen (Diane Kruger) and spirits her away back.
You are in the offices of Warner Brothers in Los Angeles, pitching a movie about the siege of, troy to various sharp-suited executives. Perhaps Jennifer Aniston and Brad Pitt are present also, representing their company, plan b films. "ok you say, "it's a rip-roaring sand-and-sandal, thigh-and-pectoral epic." Approving nods all round. "I see brad as very much the hero, as Achilles, the glorious warrior who defeats everyone in battle. But it's not just about war; it's about love!" More nods. "The passionate love that goes to the centre of the ancient Greek world, the love that sparks his greatest contest. The love of Achilles - for his friend Patroclus! And i've got a great casting idea: Orlando Bloom is Patroclus. He's Achilles's companion, his comrade, his brother-in-arms, and also let's face it his - acgh." At this moment, at a discreet signal from Mr Pitt, a security guard has entered to grasp you by the throat.
to launch a thousand ships. Which is a shame, as the thousand ships are a cg marvel, an example. Troy s awesome production values. The moment the two armies clash outside the walls rivals any battle in lotr, and the individual combat, especially between Hector and Achilles, is mightily impressive. Through simple, if striking, fight choreography, pitts Achilles at last becomes a fully-realised cinematic take on a major hero. Bruising battles and some stirring performances make. Troy enjoyable, if rather long. But if audiences can forgive the camp, theyll still struggle to empathise with the characters.
But the repeated affirmation of Paris and Helens love igniting the campaign dilutes this war-mongering subtext. Similarly, the Iliads other great theme — the pathos of Achilles fate — also fails to translate, with Petersen unsure how to handle this delicate premise. Again, it was the notion of hero-cult that underpinned Achilles actions and Homer was facilitated in his tale by having the gods purvey his heros destiny, adding a divine note to the emotional chord. Petersen, quite rightly, omits the Olympians, only introducing Thetis, Achilles immortal mater, to relay her sons fate. But her visit is so fleeting that the import of her message dissipates as the crescendo looms, burdening Pitt with an impossible task. Pitt makes full use of his many close-ups, his intensely physical form and heroic posturing encapsulating Achilles enigmatic bravura, and if he fails to convince as the climax approaches, its only because his motivation has been made forfeit. By contrast, Eric and Banas Trojan champion Hector, unshackled by Achilles lofty premise, swashes his buckle as an embodiment of nobility that does command empathy.
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As the buy carrion birds pick at the carcasses strewn across this summers box office battlefield, the fiscal hawks at Warner Bros will be hovering nervously overhead. They equipped Wolfgang Petersen with a 175 million-plus war chest to launch this films flotilla of famous faces and bludgeoning battle sequences, yet beneath its muscle-bound, armoured shell, Troy is as hollow as its wooden horse. Which does not necessarily mean that. Troy will get slaughtered at the international box office, but Petersen would have launched a far more effective assault if he had deviated still further from his Homeric source: Troy is undone by The Iliads central conceit, which is too anachronistic. The director appears aware of this fact, weaving into the substantial downtime between set-pieces repeated assertions of the reason for the war — helen and Paris love — answering questions the audience has not raised, and thereby indicating a near-fatal lack of confidence in his. That two powerful nations would go to war simply because paris nicked Menelaus girl found firm foundation in the age the tale was originally told, as a natural extension of the hero-cult. This ancient concept ensured that the intended audience perceived the homeric hard-men as heroes first, Trojans or Greeks second, their actions expressions of a now-extinct ideology. Today, fighting a war for love and honour seems mawkish and leaves the modern audience wondering which side to cheer. Petersen does expand Brian Coxs delightfully spiteful Agamemnon, investing him with an imperial yearning that could have provoked the war.