ei /Hellas on Screen sger Althistorische and | Cinematic Receptions of Ancient History, ische Studien | q Literature and Myth : Edited by Irene Berti / f ven von Marta Garcia Morcillo 2 isch @ Franz Steiner Verlag Stuttgart 2008‘SPARTA AND ANCIENT GREECE IN THE 300 SpaRrans Feinando Lillo Redonet 1. Tie 300 SPARTANS WITHIN THE CONTEXT OF PEPLUM: MAIN FEATURES ‘The influence of cinema and television bas powerfully contributed to setting cul- tural icons, having been for most people the unique channel towards the knowl. sige of history. This applies certainly both for ancient Rome and for classical Greece, although Greek history has not deserved as much attention as Rome in the medium, Cinema establishes a very particular dialogue with the past. The image of Greece in films often provides rather more contemporary views and ideas of the Greek world than pictures of the “real” Greece.’ The image of cinematic Grovce is therefore an artificial one, following the demands of genre, audiences and market, and being not always coincident withthe “historical truth.” ‘The 300 Spartans is no exception. The film shows an image of Sparta near to ‘Western cultural topol. Even if it makes accarate use of Greek sources such as Herodotus or Plutarch, clear references to the production's age are here recognis- able, The movie broadcasts indeed a reinvented picture of historical Sparta ac- cording to the cultural taste and the historical context of 1961. The opposition between froe Greek cities and the tyranny of the Persian Empire, transmitted by Hierodotus, turns into a paradigm about the resistance of Westem civilization ‘gains: the Easter menace. his antagonism leads to many political lessons, as wwe will see. Both historical fidelity and the multiplicity of lessons comprise valu- uble issues for afilm’s didactical analysis The fact that The 300 Spartans was an ‘American production filmed in Greece contributed to the originality ofthe film, in Which Greek and American interests joined. In this regard, Twentieth Century Fox ‘was indeed at that time managed by the Greek-Ameriean Spyros P. Skouras, who was also responsible for the film locations in Greece and for the collaboration. of the Royal Hellenic Army in the battle scenes. Besides, in 1955 a statue honouring ‘Leonidas sponsored by Americans had been erected at the Thermopylae. Attend- ing the fact that Greece was geographically nearer to the Warsaw Pact countcies, the influence of Communism over Greece was considered as a plausible risk at that time, For the same reason, Greeks were interested in the film as an issue to rein- force theit Nationalism. Consequently, Leonidas is regarded rather as « Greek: than as a Spartan, Greece is also presented as a united teritory, nearer to the im- 1 Above all historical fils provide information ofthe production's age. About the incidence ‘of te spirit ofthe age in flms concerning the Roman antiquity, see KE: 1997. 2 Lixo Reponer 1997, 141-158; 2004,18 Femando Lillo Redonet * age of the modem country than to the real dispersion of the classic poles. For Americans, the film was an adequate vehicle of propaganda to face the Comme nist enemy and recalled the decisive importance ofthe American intervention ig the Second World War, when National Socialism menaced Wester civilization Besides, the Thermopylae-episode performed similar topics asthe audience could find in The Alamo, directed by John Wayne, which had a successfil premises iy 1960. {As an American production, the film enjoyed a bigger budget than other pepta of that time, which could be appreciated in its quality. We can observe this by comparing the film with The Giant of Marathon (La battaglia di Maratona, ¢ Tourneut, 1959), entirely produced with Italian capital and inchuding. all Uc {genre's commonplaces.’ The 400 Spartans shows instead an improved version oF them. One ofthe peplum’s tit isthe unavoidable love story. Here i is sketched by the relationship between Leonidas and Gorgo, and particularly by the secondary characters Phylon and Ellas. Being a ‘opas of the genre, the inclusion of the lone story is merely understandable in terms of the audience's demands, since ths isin ‘my view one of the weakest points of the film, which would have been better without i® A farther trait of pepla is a way to classify characters according to the scheme hheroes-vllains tnd good-immoral female characters, as Siclier notes. Typical eplum-becoes were muscular actors facing multiple dangers. A prototype of sach 4 hero may be Philippides in The Giant of Marathon, featuring Steve Reeves, ex Mister Universe and usual actor in toga movies. Richard Egan, who played Leonidas in The 300 Spartans, was also well-known as a judo-fighter, bat his physical presence was far from that of muscular heroes. Compared with the ides of the individual hero such as Philippides, and even if Leonidas plays a relevant Part in the film, The 300 Spartans accentuates above all the collective values of the Spartan people. In films dealing with Greek and Romian zopoi women used to be represented according to a dichotomy between the good and innocent on the one hand and the Sedducer and wicked on the other. Thus, The Giant of Marathon offers a polarised image between the fragile Andromeda and the immoral Karis, who will die by ‘eying to help Philippides. The women of The 300 Spartans are in some way also 3 LawoRepower 1997, 126-140, 4 Ontypieal charsteristis of peptim, see LiLL0 REDONET 1994, 13-16, 1997, 21-28, 5 For inst, among the unfortunate sextencesatbuted t9 Pylon, we fd the flowing “This i telly good war. They say Xeracs has brought 100 nations with him. Last tha wonderful?” Sictisk 1962, 30 dans les mémete lassie poti ada to face the Comme, American intervention sod Western cvlzatog oe. the audience cul, t mocenl premise wut tha other pep We can observe tr ‘toga di Marca, Wand including al tie ‘an improved version of +. Here itis sketched by ularly by the secondary the inclusion of the Jove demands, since this isin would have been better according to the scheme Siclier notes* Typical 23s. A prototype of suit turing Steve Reeves, ex ard Egan, who played a judo-fighter, but his ompared with the idea ‘onidas plays a relevant the collective values of used fo be represented om the one hand and the hon offers 2 polarised Karis, who will die by 's are in some way also 116; 1997, 21-28. Ton, we find the following dations with him, Ton hat 8 historigues resent cous ' défnis par leur physique Strats sont noire de pil Tear macuillage et lous 2) ces personnages doivent ae, médiévale ou plas = ‘The 300 Spartans 19 strayed according to this scheme, but with a cenain touch of originality. Gorgo Pid Ellas personify purity and innocence, whereas Artemisia is shown as & femme fatale until the end ofthe film, when her real identity as a Greek spy is revealed to the viewers. "The stereotype of the villain in peplum uses to be libidinous and cunning, be- ing mostly represented as a tyrant or usurper, Good examples are the Neronian espot in Tho Colossus of Rhodes (Ht colosso dt Rodi, 1960) or the usurper Pelias in Hercules (Le Fatiche di Brcole, 1957) and Jason and the Argonauts (1963) Beside caricaturised adversaries, we find more elaborate characters, such a8 Anti nous in Ulysses (Ulisse, 1954) and King Darius in Alexander the Great (1956). Darius is presented as a noble character, moving the audience into compassion when he is murdered by his own mea, In Oliver Stone’s Alexander (2004), King Davis is depicted with a certain respect, too, avoiding the caricature. In this case, King Xerxes appears 2s a genuine tyrant, although David Farrar’s performance shows no traces of the histrionic tendencies attributed to the typical villains of the Italian peplm. ‘A distinctive feature of this kind of films was also the introduction of amazing axdventures and spectacular action pieces. In films dealing with myth a muscular hero is expected to face multiple dangers, including fabulous monsters and im- pressive warriors. Such heroism is used to accentuate individual performances, Tike Philippides in The Giant of Marathon, whose almost superhuman force was zoing to play a decisive role in the battle, Although Leonidas appears as the leader ‘of his troops, in The 300 Spartans heroism is the result of collective efforts. In ‘addition, the negligible credibility and doubtful quality of the battle scenes in The Giant of Marathon ot Alexander the Great contrast with the authenticity observed at Thermopylae in The 300 Spartans. Nevertheless, they can not be compared with the realism and historic fidelity of the reereation of Gaugamela in Oliver Stone’s Alexander (2004), without any doubt the best Greck battl-scene ever filmed, ‘The influence of comics and their aesthetics in the stylization of characters and the creation of distinctive peplum-prototypes’ should not be forgotten, too. In our case, the characters are depicted schematically and prototypically in 2 moder- ate rate, and they even succeed in transmitting their feelings. The influence of comics is manifest in the recent production 300 (Zack Snyder, 2006), based on the work of the same name by Frank Miller. Miller had been deeply touched indeed by Zhe 300 Spartans as a child, and the film later became the source inspiration for his own work Summing up, The 300 Spartans towers above other contemporary produc- tions. Its heroes appear convincing to us, albeit several stereotypical depictions, 7. AsSictirR 1962, 31 points out regarding La guerra di Troia(G. Fesoai, 1961): "C'est Ho- Inére adapié pour le Gomi-stripe et toutes les phrases du dialogue pouraient s"inscrire as ‘esos doi tee des personages, dans ces petits ballons qu ls aliens appellate ct ‘hi avaient, Caord, donné leur acm sux romans. photos sentiment. Tous ls ims & pe Plums sont congus dans Foptique de Ia bande dessnge; est ce qui leur donne leur syle gen ni120 Fernando Lillo Redonet Exterior locations in Greece and the battle scenes further provide @ touch of a= thenticity to the viewers. The photography by Geofliey Unsworth, the soundtrac, by the Greek composer Manos Hadjidakis (1925-1994) and the format of cinema: scope contribute to the quality ofthe film, too. This film is one of the best works directed by Rudolph Maté,« respected cinematographer who had already filmed low-budget lalo-Ammerican peplum called Revak, fo schiave dt Cartagine / The Barbarians in 1960. AAs already quoted, many political lessons are found in the film. One of them is declared in the promotional peper, in which the movie's backaround is associ. ated with the Second World War. “Like D-Day”, said Richardson in this, “ihe Bate of Thermopylae was a turning point in history, onc of those happily ine. quent moments when the forces of freedom and those of ttalitarianisin square off for a final showdown. And in both eases the armies of tyranny had the upper hand.* Moreover a parallel betwreen Xerxes and Hitler is drawn here: “History as seen weld conquerors” come and go~ Alexander, ins Cass, Napoleon, ta same afew but onl Hier fad Wacker inetions when he et ot or th werd an sim same Keres, the Emperor of Persia 24 cea ago. In he fourth century BC (ey the Pension Empire, located east ofthe Mediterranean Sea, conolled alte know Word ee cept Gr, tiny peninsala mate of mamerous iy tater. Xerns did Tove tha lat uot of edo wih he lest ary the world De everson. He arsed amity force of ve milion soldier and advanced on Crgec tobe mt atthe arow pas of The spa by oan fre of 30 Sparta sod” M. Eloy!® compares the fil’ subtext with the Greek resistance during the See- fond World War, which suggests an obvious parallelism: As the sacrifice of the 300 Spartans enabled, by winning precious time, the final victory over the Per- sians at Salamis, so the Gorman army wasted too much time in occupying Greece With five weeks of delay, Hitler was obliged to postpone the planned invasion of the Soviet Union, which resulted in the well-kzovin catastrophe. In addition, even in 1941 the Thermopylae had been the scenario ofa military resistance by Greek and Australian troops agains the TL Reich On the other hand we must consider thatthe flm was produced in the early sixties. The defence of a Western democratic resistance facing the tyranny ofthe ‘old Easter world ruled by Persians implies here a reading in terms of democratic statements during the Cold War.” Furthermore, for American audiences the he- roie resistance and death of the three hundred Spartans transmitted an image com parable to the one of the defenders in The Alamo." [Even mote didactic proposals are aimed towards American viewers in the films pressbook, for example in a “Radio contest”: “Local afternoon radio-shows for ladies will be interested in this gimmick: have a contest inviting liters dis- 8 PResssoor 1962, 9 rsssacox 1962, 2. 10 Froy 2005 11 DBEsPaRa 1998, 174 12 Hinpayx 2002: “The batle of Thermopylae pesents a clear parallel to the saga of Travis tnd his Texins, a comparison that was cbvious immediately to observers in 1836, who dubbed the Alam ‘America’s Thermopylae.hhc provide a touch of ‘Unsworth, the sound ‘snd atcha mis one of the best wong ‘who had already filmes g chiavo di Cartagine / The din the film, One of chem ‘ie’s background is assoc. 4 Richardson in this, “he ne of those happily inte. totalitarianism square off of tyranny had the upper is drawn here! er, Julius Caesat, Naples o set out to rule the world thas 3 Inthe fourth century BC (ey trol all the known ward e 5. Xerxes decided to inv is ver seen. He amassed a miliary set atthe naow puss of Thee resistance during the See mm: As the sactifice of the inal victory over the Pex time in occupying Greece. ae the planned invasion of astrophe. In addition, even itary resistance by Greek was produced in the early facing the tyranny of the ing in terms of democratic nerican audiences the be- ransmitted an image com American viewers in the cal afternoon radio-shovs oniest inviting letters dis parallel to the saga of Tans 19 to observers in 1836, wr “The 300 Spartans 11 ‘qusing “How America’s domestic problems might be solved by adopting more Spartan customs.” Also a so-called "Kids' Essay Contest” is proposed: “Either in SBniunction with your local newspaper or with public school history departments, Sponsar 2 contest forthe best essay on one ot more of the following topes: (1) Wut if the Persians had conquered Greece? (2) How do the customs of ancient Sparta compare with ours? (3) How were modemn military strategies influenced by the Batle of Thermopylae?” “The final scene of the film showing the monument of the Unknown Soldier at she Sintagma-Square in Athens reminded Greeks of all their centuries of fighting nd in particular of their war of independence against the Turkish invader coming from the Fast. 2, ANALYSIS OF THE FILM AND ITS SOURCES ‘n this chapter, we will follow the scenarios of the film’s action, identifying cer- tain quotes from Herodotus and Plutarch. Literary quotations are frequent in the tnovie and provide a classic flair to the movie.“ 2.1 Preamble and invasion of Greece ‘While several icon-like images of Greece are shown to the viewers (the Acropolis, ‘sa symbol of western culture, the commemorative pillar at the Thermopylae ‘with Semonides” epitaph on the fallen soldiers and scenes of Spartan warriors), the narrator connects the Greek past with the present: “cresce that hard and timeless land where even the stones speak of man’s courage, of bis endurance, of his ory. And none more elogueny than this Tnely pillar in a dsolite pass Some 200 miles noth of moder thes. Across te has of 24 centres, this is the story of & tuning pont in istry. Of a blazing day when 300 Greek warsors ougit hereto bod with their lives thei feed and oars.” Further views of the Acropolis and the Parthenon follow, accompanied by the martial music composed by Manos Hadjidakis. The next scene shows the Persian amy: “in the year 480 BC, King Xeres of Pci sc in motion hs enormous slave empire o crush the arall group of dependent Grotk sats the only stonghold of feedom sil rensiing inthe then known worl.” Both images and introductory texts attempt to lead modem spectstors to history They also transmit a global idea of liberty opposed to tyranny. All possible inter- prefations of the film are indeed channelled into this ideological scheme. PRESSBOOK 1962, 5. SoLowow 2001, 40: “The anccats loved thee aphorisms, and a generous sprinkling of them thor gn ener refit Seem S0— hap ron “meteor fm.”Femando Fil Redonet The Persian army is represented in all its extension crossing Greece during seven days and seven nights, The incessant parade of soldiers accentuates the overwhelming superiority of the Persians and makes the heroic resistance of tng 300 Sportans even more admirable. According to moder historians, there have been around 7.000 Greeks from different poleis at ‘Thermopylae — among them 1.000 Spartans; including the famous 300 and 700 Petioecian hoplites. In contrast to the Greeks the Persian forces disposed of around 300,000 soldiers. Only the 300 are hovever mentioned in the film ~ with the exception of the testified sup- port of Thespiaas ~ which accentuates even more the courage of the Spartans fase ing & much higher number of enemies.” The mimber of 300,000, even already remarkably high, contrasts even more with the exaggerated five million Persiang proposed by the advertising promotion of 20" Century-Fox. In an interview in. cluded in the pressbook Sir Ralph Richardson corroborated this amount, too: “However in many ways Thermopylae wa the more agaed ist of edom's abil to sx vive. The ancient Grecks wer surprise by an emmy of no les than five milion slr > ‘he lrgest ever seen— ane a fist ey could oly muster 300 men in tit dene. These 30 soldiers were hastily calle Atom te iy-stae of Spata to defend the naow past of Thee ‘mopylne..and had hey not pap te most heroic fg in de aaa of ware the Pestana ‘would alipstcerainly have subdued Greece and erased westom civilization nis vay be sinning” ‘These words put emphasis on the numeric disproportion and the significance of the battle for Western civilization. The number of five million Persians is actually stated in Pseudo-Plutarchus’ Paratlela Minora.” In the next scene, the figute of Xerxes is introduced to the viewers speaking and acting asa tyrant “Whip then on if they are slow. Lam anxious to avenge my father’s defeat.) Is was my father's dream: one wor one master. But at Marathon, 10 years ago, he Seats mete wave? sm eading an ooean!™ Xerxes” interrogation of the Spartan spy Agathon in the next scene highlights the film’s main ideological message: Persian tyranny versus Greck liberty. Once agaio, this dialogue and the previous words of the Great King could be perfectly transferred to the twentieth-century context by replacing Xerxes with Hitler: “Nernes: Tellme, is it re that the Spartans are the bravest wares in ll Greece? ‘Again: You will ind thet out for yours ‘Xernos: Fool! You have but few men. Your litle county is divided. You have no sigle ruler How can you defy me, the master of the whole word? Agathous That's not for you to understand, sit. For you ae the master of slavery. And yout ‘now nosing of freedom. The scene is based on a dialogue by Herodotus in which Xerxes faces Demaratas, Spartan king in exile,'* In the film, Xerxes spares Agathon’s life for the following reason: Loy 2005 PRESSAOOK 1962, 2, TT Plt. Sor, 3060, 18 HacVu, 101-108+ exosting Gree dag soles acenaes ge shui einer of risa, here hae rmuopyse ~smeng sh hopes Inco "0.000 soe. Only xtion of the testified sap. wage ofthe Spr 5300000, even a ted Sve milion Pon fo. in an ier i 2s aeons io sof Sion ity une ton setae eg Slienme parte Safar es Sonne see | and the significance of Ilion Persians is aetually to the viewers speaking bers detest.) Iwas my '2go, be sent a mere wave, text scene highlights the as Greek liberty. Once King could be perfectly ‘erxes with Hitler; os inall Greece? 4. You have no single lr. raster of slavery. And yo {erves faces Demaratus, V's life for the following ‘hose words epit gods, wt ‘Rasons of the Great King’s “The 300 Spartans 1B of pity. Lom told the Grosks are holding some ern: Ihave spared your Tif, but ot out ere. The power that neither ettby t Cortth. Go there, end tel them wat you have sea fea aor the gods can thwart.” romise the Persian Aybris, the determination of overcoming the nich, according to tire Greck mentality, was considered to be one of the bitakdown. the film shows a dialogue between Xerxes and De- ‘Again from Herodotus, mara.” “Keres: Demarats, Sparta wil ight? Demaratas: Do you wish fra tathfl answer or an agreeable one? eres: Tellme te ath shan’ old it agains you. Deseret: Sparta wil ight, even i the est subst amen: How can they do anything together when they have wo ings rang them” you were once king of the people. ell me, do you realy belive that 2.2 Assembly in Corinth “The next film-scenario is an acceptable bouleutorion at Corinth, where the Grecks fave been assembled. During the assembly, two positions are confronted: the i dependence ofthe Greck cities or their unity. The words of one ofthe speakers are eloquent per se: “As sid before, thefndependence of our cts i the comestone of ar feedom. Therefane 1 Ropes that each ely deal with ths problem independenty witout surender os dig Mey at ao snout fate heroics which can oly ed inthe mass suis ofthe Grok Facing this view, Themistocles defends the unity of Greece. Overtones recall here the Second World War or tie Cold Wer: for instance: “The whole of Asia” = 1. Reich /the countries of the Warsaw Pact “tide of tyranny” = Hitler / Comme. nism: “The whole of Asia is descending upon ws, Many Gines more men than tere ae Greeks ‘hnse men ae fee, savage, bloity, mrckes, Bt that ix aot the reson why me 19 Hal. Vi, 101, 2-102: “So tel me: wil the Greeks offer batle and oppose me? I think dat Dit fall te Grecks and al the wen ofthe Wester lands were assembled togetber, they ae er powerful eoough to withstand my stack, unkess they ae waited, Stil] want hear rom Jou what you say of then” To this question Demaraus aaswered, “O king, should 1 speak author ey to please you?” Xerxes bade hia speak dhe ruth and said tacit woald be no hare unpleasat for his than before, Demrats heard this and sad, “O King, sine you bid ine by all smcan to speak the whole tut, and to say what you will not ater prove tobe false Pres poverty ie always endemic, but enarage is eequired asthe frit of wisdom end trong lave by ae of this courage Hellas dafends herself trom povery and tyranny. Now 1 rus all be Groeks who del in those Dorian lands yet Iam not going to spenk tose Prat about all of dem, but only about the Lacedaemonisns. Fist, they will ever accept ‘ondvions om you thet bring slave upon Hellas; and second, they will meet you in bate hen fal the other Grooks are on your sie. Do ct sk me how mary these en are who can {Dh tey wil ght with you whether they have an army ofa thousand men, or more thas ‘hat or less.” Translated by A.D. Godley, Loeb.124 Femando Lillo Redonet soul earth, That isnot the source of hr poser. Their power lis in heir ny, Unig Remember that one tebe word which wil surely destroy Gece, unless we counter ti unity of onrown.\ unity of ee men fighting together essing hunted ide of tyrany™ ‘The opposition between diversity and unity is also transferred to the religious sphere. Themistocles’ contender makes a conscious use of the first part of a Del. Dhie oracle to prevent the Creeks from a sure defeat “Fy tothe word's end, doomed ones. Leave your homes. For fie and the headlong god at war shal bing you low.” ‘Yet, showing his rhetorical abilities, Themistocles completes the prediction and offers a plausible interpretation: “ere isthe rest ofthe prediction: “Then far-seing Jove grans this tothe prayers of Athene: safe shal fhe weoden wal cotie or the and ky clon” “Our new Athenian ships, manned by the bravest salar he word. Ther is our wooden wall” ‘The film’s oracle is again based on two different answers from Delphi transmittod by Herodotus”. During the assembly we are present at the personal union between Leonidas, King of Sparta, and Themistocles, who are going to establish a common strategy standing in front of an improbable but didactical map of Greece. In terms of World War Il, we identify Leonidas with the Americans and Themistocles with the Britons (and allies), building a perfect alliance against the common enemy. As 1D, Bley points out, this image is reinforced by both actors and their physical presence: “Richard Bgnn’s Leonidas and Ralph Richardson's ‘Themistocles form a perfect contrast of body vs Mind, Dorian vs Tonian ~ the twin tensions in Greek lige ~ albeit in Anglo-Saxon terms (Egan's physical American vs Richardson's suave Englishman).”"! On the other side, the strategy proposed by both characters has been adapted from Herodotus” again, The Corinthian assembly, where diverse opinions are discussed and decisions are taken according to the majocity, contrasts with a parallel scene between ‘Xerxes and Hydames in the eamp of the Great King. Xerxes answer to his adviser ives evidence of his tyrannical mode: “It’s my war and I'l conduct it my way.” 23 Sparta ‘The third location is Sparta. The first image shows @ columa of young warriors marching among buildings in the Dorie styie, traditionally associated with virility. ‘The recognition ceremony of Philon as a Spartan warrior follows, in which Gorgo centrusts him with the shicld and recalls to him the Spartan laws (fig. 5) “Gorgo: Are you ready to hear the laws sated to Spartan wasror? Phylon: Yes, ucen Georg. 20 Hib. Vil, 140-143, 21 ELLY 1984, 69. 22, Hi. Vit 175-197,“The 300 Spartans 125 ‘aco. You must weasure freedom above life. Shun pleasure for the sake of hardship in silence. Obey orders implicily. Seek the enemies of ad ight them fearlessly, unl vetory or death." “heir power lies in th oy Cros, une O : oreo’ ee ty at. asieting this united 6a. ee te Endure pain an stories eaeenerwmt Tac tte fe peste shal accompa By the wos itp ER ow eng nef tm hing ut Hl Th * ‘ ae fe wor don tea A hei ith isi or aon purpose of this dialogue is to explain to modem audienges the 28 For fic and the headlong ge : completes the prediction ang =v idactical Bee. Ter tpor of ang bck with or nthe shiek ansmited by Phar B sents this tothe payer Ati Kon rent scene, Leonidas speaks toa Spartan council of ive members. It is 0" = got ler whoter the council coresponds tothe gerasia (count of seniors) os 9 smbers). The council refuses in any case to Support {bc ephoros (council of five met vices, displaying in this way the attested tensions between the Greek polls Leonidas introduces here his dream of one united Greece in the world. Thre is our woaden vers from Delphi transmittad Leonidas: But the council nus ct quickly onal union between Leonidas, ‘Xenon, Sparta [solstionist: Why? . mids: odor dat we Spats may reac the fst ine of defense in tne establish a common . mp of Oe — SEbRoa Spartan lant: And where might tb? Jeane and Thorsen nee Teonias The Pas of Thermopylae. ‘cans and Themistels wit vere, Spartan latest Thermopylae, of coure. Thats he pss tt pots Atens ‘ainst the common enemy, As. eet! Ne isthe pa tbat protects Grcccet Mere cies dont mater now, I is Gree oth actors and their physical armies Only by being united can we bope to avoid slavery. Now, Lam ao potas, bat L ardson's Themistocles forms on wanes andthe night rings feta new day!™ ~ the twin tensions in i : 8 in Greek This idea appears again ina priv 4 American vs Richardson's res to convince him to remain in proposed by both characters -——_ future visions of Greek history ‘nll plead this ease with you until the mo ate dialogue between Leonidas and bis wife, who Sparta. Leonidas’ words seem here to project sare di : “Gory Thermopylae? Ba th’ fa ay from Spar se cased dee in Fstop Xerxes answer to his adviser ‘The Council finally decides to support Athens, but only after the celebration of & 1d Pl conduct it my way.” etweal. Their members have also consulted the Deiphic oracle, in which a pre- x diction of death for one of Sparta’s kings has been prophesied. The answer given by the oracle in the film is based on Elerodotus:™ “Dweller in glorious Sparta, hear now the words of your ft. Fier your famous ity g0=5 donna wont of the Persians, ori your iy is spared, the land of Sparta must mourn forthe death of one of er kings.” Nevertheless, Leonidas and his personal guard, three hundred Spartans, leave in the hope of being followed by the whole Greek army. ‘A further scene shows the liberty and vigour ‘opo? attributed to Spartan women: ‘column of young warriors rally associated with virility ‘ior follows, in which Gorgo stan laws (lig. 3): warrior? decide t0 22 Plat Mor 241f; “Another, os she handed ber son bis shield, exhorted him, saying “Pither ‘with this oF upon tis" Translated by Freak Cole Babbit Loeb, 24 Hat. VIL 20,126 Femmando Lillo Redonet “Gog: Sparta gives her women more eed than any state In return t demands suengh Files: How can Ibe strong? Love him. Gorgo: You must be stong. Remember the mother wh killed er son when he retumed wit wound in his back.” This ancedote is based on several testimonies about Spartan women transmnitied by Plutarch invhis Sayings of Spartan Women. Other well known topoi onthe Spartan society are revealed in a later scene by ‘a goatherd who meets Phylon at the Thermopylae: “Phylon: Have you not heard af Sparta? Goatherd: They speak ltl, fight much, Fat that hack broth that tums up the stomich ang thei irs go about naked” ‘The goutherd summarises in this way the Spartan laconism, symbolised by the shot spocch-form, the image ofa martial society, the black broth and the byes liberty conceded to their women.** Plucarch’s Moralia probably also inspired the last dilogue botween Leonidas and Gorgo showing a Spartan saying:”” Gong: Ame 30 men. Tenis Since wie have Spartan sated counting numbers ging int ants™ Philon, who is in love with Ellas, Leonidas’ niece, is obliged then to retire from, the army for his ater is suspected o bea trator. Yet Ellas convinces hi tote his shield and follow the Spartans tothe Thermopylae At the bay of Locris, Leonidas meets Themistocles agai. We notice here once more Themistcles" Pan-ellnism and the perfect syabioss Between pols ties and weapons embodied by both charcters “thems: 'm ong Bt 3 tetinenal ld ol eset i ove witha dca: one fecunited Greve eos Ita th gods only sole. Themistoce: And Thank them Tm 4 poli, Baboon ws we may make odes one on 2.4 Thermopylac ‘The last scenario is the pass of Thermopylae. In his tent Xerxes is informed that the Spartans are repairing the wall and getting their weapons ready for the batle Jo the meantime, Phylon and Ellas are reccived by an old goatherd and his wife. ‘Among them lives the mysterious Ephialtes, who furtively listens to the old man reporting to Phylon the existence of a path surrounding the mountains, which could put the Greeks in danger. Leonidas is later informed of that and gives in- structions for the path to be kept under surveillance. Leonidas prepares a noctat- ‘al assault against the Persian camp in order to win time. This episode is inspired 25. Phat Mor. 24082418, 26. These last vo features are refered toby Phuare in his Life of Lacuna: Put. Lye. 1, 125 14,28. 27 Pht Mor 225,by the the black broth and the bigger 956) The walls of Troy include ast dialogue between Leonidas ers going into battle?” is obliged then to retire fom. et, Bllas convinces hit to take ne. stocles again. We notice here orfect symbiosis between poli- of Tray (Robert Wi -spertely in love with a dea: 90¢ ‘us we may make our dream come sod bythe Minoan azebiteetre. Credit The Kobsl Col + Sern) driving a horse carriage in Hefen 5 tent Xerxes is informed that ‘weapons ready for the battle: an old goatherd and his wile. urtively listens to the old maa inding the mountains, whicl aformed of that and gives | Leonidas prepares a noctut= ig, 1 Paris laeg ownwacd oper Life of Lyeamgue: Plat ye. 14,12512 jg Diodorus Siculus 11, 102 yet the Greek historian contextualises the facts after ihe Grceks had been betrayed and not before. Diodorus tells us the attack was jaded by Leonidas himself, provoking a great disorder among the Persians, who - Spfosed many of their men with the enemy. The anecdote, however, isn't men- Foned by Herodotus and modem historians consider the episode improbable. Al- {hough the attack fails, it leads to Phylon’s rehabilitation by saving the life of his, future father-in-law, Pentheus. "A messenger from Sparta communicates the Councit’s decision not to send the-whole army. Before the imminent battle begins, another plutarchian dialogue ‘petven Leonidas and one of his soldiers takes place.”” pata sole: Te Ban son the move. Drawing nese ous. ‘Leonidas: Good, Iso means that we are drawing nearer to ther.” ‘After the first Persian offensive has been rebuffed, the Persians send Hydames to negotiate with the Spartans. ‘riydames: Yesterday, we only probed your defences, When we stack today, our arrows will blot out the sux! Leonidas: Then we wil ight inthe shade Hydames; But his slaaghteris useless. Surender your arms and avy king wil spare you and ‘your Spartans. What shall Thin? Teonidas: Mola lb! Come and take them!” ‘This dialogue goes over two Spartan proverhs written by Plutarch.” Herodotus, attributes, however, the anecdote of the arrows to a Spartan called Dieneces.”” 28 Diodorus Sis 11,10: "The soles, then, in accordance withthe onder given them, form- ing in compact body fll by night upon the encampment of the Persians, Leos leading tho attack; and the barbarians, because ofthe unexpecteiness ofthe attack und heir ignorance ofthe reason for i, an logetierFom thei tens wit great tama and in disorder, a think {ng thatthe soldiers wo had wet outwith tho Trachinian had perished and tht the entire force othe Greeks was upon them, they were stock wit teror. Coasequenly many of tem were Slain by the troops of Leonidas, and even moce perished a the hands of thei comrades, who Jn heir ignorance took them for enemies. Fo the night prevented any undecstnding ofthe tevestte of ates, and the confusion, extending as itd throaghout the entre encampment, ‘cccasioned, we may well believe, great slaughter; since they kept killing ane another, the ‘oncitons aot allowing close sertiny, becase thoro Was no order from a general nor any ‘demanding ofa password tor, in geveral, any recovery of reason. Indeed, ifthe king had re= ‘mained atthe royal pavilion he also covld easly have been slain by the Grecks andthe whole ‘war would have reched a speedy conclusion; but as it was, Xerxes had rushed out to the to ‘ul and the Groeks broke into the pavilion and slew almost to a man all whom they caught thore. So long ast was aight thay wandered throughout the entre camp secking Kerxes—a ‘enone action; bt when the day dawned and the entre state of afftis was made manifest, the Persians, observing thet the Groeks were fow in number, viewed them with contempt the Persians did act, however, join bate With them face to face, fering her valour, but they formes! on the Maks and fear, and shooting arews snd hurling javeins a hem fom every seston they slew them to a man, Now as forthe soldiers of Leonidas who guarded the passes of Thermopylae, such was the end of le they met” Transiated by C. H. Oldfathes, Loeb, 29° Plat. Mor, 2256, 30 Phit Mor, 25b-a: “Whea someone sad, "Because of the serows ofthe barbarians is impos. sible tose the sun, Be aid, "Won't i be nice, then, if we shall have shade in which o fight stay Athens, Fre, inctot Bildarchiv,128 PPeramdo Lillo Redonct To face Leonidas’ challenge, Xerxes sends his Immortals to the bat, being also rebuffed by the Spartans. At this point, it is interesting to examine both the battle and the equipment and tactics attributed to Spartans ancl Persians in the film.” In opposition to Solomon “Maté created one of the most exciting and au. thentic ancient batles ever put on film”, jon anymore’ Although it is true, that this was by long the best ancient battle filmed until that moment, it is clearly inferior to the historic reconstruction of the Gaugamela-battc in Alexander (O. Stone, 2004). Conveniently fitting inthe fash. ‘ons of the production’s epoch, Spartans are here represented as carefully shaved \arsiors. They also wear short hai, which contrasts tothe report by a Persian spy. reported by Herodotus: “He saw some of the men exercising naked and others combing their-hair!" In Frank Miller’s comic and recent cinematic adaptation, 300, the Spartans are shown with long hair and even beard, but they fight almost naked instead of wearing the characteristic armour and preaves, Two types of helmets, with and without nose guard, are used in the film. The latter are chosen here for the main characters ia order to make them recognizable to the audience. At that time, however, hoplites were dressed with the typical closed-forehead helmets. For it was essential that the enemy saw the hoplite a8 a ‘War-machine and not as @ man. This inhumane aspect of closed helmets Was typi- cal in gladiatoril fights, too. Spartans are correctly dressed with bronze armour whereas Thespians wear the inothorar, a much lighter protection. Historically, the finothorax was com ‘monly used at Thermopylae and heavier armours would have been merely em- ployed as relies of the past or by conservative Spartans. In this way, the film ‘draws attention to the differences between Spartans and ‘Thespians by emphasi ing the conservative character, the strength and resistance ofthe former, suggested by their armours, Spartan shields are depicted with the lambda of Lacedaemonia, ‘transmitting an image of uniformity, which was indeed far from reality. Fach sol. ier supplied actually his own equipment, which was individually decorated. The introduction of the lambda seems to have been posterior to this epoch, dated per haps between 475-450 BC. The idea of uniformity in the film contributes to the message of Grock unity and the thought of a compact group fighting for collective instead of individual principles. them; When Xerxes wrote again, “Hand ovee your ans." He wrote in reply, ‘Come and tke them. Translated by Frank Cole Babbitt, Loeb. ‘Hat, VI, 226: “The Spartan Dizncees is sid to have exhibited he greatest courage of al ‘They say that he made te following speech before they joined battle with the Medes: he had learned fom a Trachinan dt here were so many of co barbarians that when they shot thet ‘minis, the sun was hidden by the multitude oftheir aroms, He was not at al disturbed by tis and made light of the mulitude of the Medes, saying that tei Trchinan foreign ‘brought them good news, Ifthe Medes hi the sun they could fight tem in te shade instead of inthe sn.” Translated by A, D, Gey, Loeb. 1am grateful o Prof Femando Queseda, member of the Department of Prehistory and Ar chacology ofthe Universidad Auténora of Madrid, fer his useful ideas on Spartan military tactics and weapons. Sovanson 2001, 40, HideV0, 208, 3 "Tear completely agree wih thi ogee, |tara tothe wt crg to nin Pa Sprans and Pesan oitte mos ering seo spleely agree witb his gp Tong the best ancient beg Knciorammnn f venanly Bee Ca tented seats Ste rpar by area ouchng taal oe Dear, but hey fh ae Teena nia ted in the th: tomate tan ere we deoed wi ony a te bon ofeloval eats eae a ‘ur whereas Thespians wear Ys the linothorax: was com ould have been merely em- ‘tans. In this way, the film ind Thespians by emphasis- sec of the former, suggested « lambda of Lacedacmenia, 4 far from realty, Each sol- individually decorated. The lor to this epoch, dated per- the film contributes to the sroup fighting for collective roe in ep, “Come and tke ited the ereatet courage of al bate with the Medes: ho had Frorans tht when they shot their S-He was not at al cisturbed by ‘that thie Trucinian freignce | Tight them inthe shod instead ‘partment of Prehistory and Ar "sf ideas on Spartan miliary ‘The 300 Spartans 129 Particulacly striking isthe red colour of the Spartan cloaks, excellently photo- graphed by Geoffrey Unsworth. At eetsin moment ofthe fk, Pylon says: “The rpar-of0aks are so becoming'to men. This way no enemay will ever see Spartan ood” Nevertheless, itis almost certain thatthe cloak was not used during the battle ‘Conceming the tactic. the scenes showing the Spartans throwing themselves con the floor in the first combat and Phylon setting fire to the straw in the fight Spsinst the Immortals have been clearly invented forthe script. On Spartan war tactics Herodotus tells the following: “othe Laceéaemonitns fought memurably, showing themselves sled figs amidst hile on any oocisons, as when they would tum their backs and feign fight The barbar- Set would see tem fleeing and give chase with shouting and noise, but wheo the Lacdae~ vrlans were overalen, they would tum fo face the barbarians and ovetivow innumerable Penlens. A Tew ofthe Spartans themselves were also slain, When the Persian could aun m0 Foah ofthe pss atacking by companies andin every other fasion they withdrew." Spartans used to fight in a phalanx-system in which each warrior protected the Companion on the left side with his own shield. Yet, inthe film we almost find a Single zow of soldiers, which in fact wouldn't have been very helpful against a Persian attack. The real force of the Spartan phalanx relied on its compact super- posed stricture, usually composed of a row of eight-soldiers deep, ‘Tis configurs- fion enabled a much more effective pressure on the enemy's defences. More lover, spears Were held above the shields and not, as shown in the film, beside them. Sounds of flutes and war songs were usually used by the Spartans during the bate. This feature is reflected in the movie during the joumey to Thermopylae and the final battle ‘The final part ofthe film begins with the treason of Ephialtes in revealing the secret path to the Persian king. Whereas Leonidas and his army are being sur- rounded by the Persians, Phylon and Ellas succeed in Jeaving the camp. This choice gives the viewers a stall happy-ending contrasting to the predicted trag- tedy 10 come. In the final combat, the Spartans attack using a V-shaped formation, ‘which had been announced in the film’s posters: “See the first use of the flying ‘wedge!”; a clear allusion to American football” (fig. 26). During the battle, Leonidas dies and the rest of his men, refusing to surrender to the enemy, are en- closed and killed by the Persian arrows. The rain of arrows falling on the Spartans, one of the most beautiful scenes of the film, provides a dramatic back- drop to their heroic resistance. 35 Hut, 211, 5. Translated by A.D, Goley, Loeb. 36. The clish bewcen the phalange and the enemty is succnety displayed inthe Sl 300 Zack. Snyder, 2006), The scene shows Leonidas encouring his soldiers to pash against the Pex Sians, Nevertheless, the res ofthe tle is nearer to ero fantasies than o historical acts. 37 PRESSHOOK 1982, 3,4, 630 Ferinde Lillo Refonet 25 Epilogue The off-voice of the narrator remembers the famous epitaph by Semonides eval ing the fallen Spartans. The audience is then told about the victorious end of th war against the Persians, tured into a paradigm of any confrontation bet democracy and tyranny’ Nanaior: “Oh, Stranger, tll dhe Spartans that we Hie here obs message ofthe illen heros rallied Greece mo victory, fist at Selanis, as predicted, andes at Plaines, But it wa moro than a vihory fr Gowce. Ie was ating example to fice pepe throughout the word of what few brave mea can accomplish once they reise To sake iran. to their word. This fase The moral m: for freedom fi appears thus obvious. It shows the universelism of the fight 1g oppression. This is indeed a topic always inspicing cinematig approaches, as the new film on Thermopylae, 200 (Zack Snyder, 2006) proves Making use of aesthetics nearer to comics and videogames, 300 brings the cal episode closer to new generations of audience