Spartacus

A very moving and compelling story of epic proportions. The plot is relentless, propelled by a dazzling screenplay. Kubrick draws some of the greatest performances of the cast, and fills the screen with images that fascinate throughout. Well paced for a movie of this magnitude.

To those who complain of anachronisms and poetic license with historical events, I say to them, 'Remember, it is a movie.' To be truly accurate, the cast would be delivering their lines in Latin and ancient Greek, with English subtitles. Whatever Kubrick might lose with historical inaccuracies, he gains far more in his ability to convey the story to the viewer. Even though it is over forty years old, the film tells us more of the present day than it does of the past.

Another Kubrick's masterpiece and very influential movie in it's genre. Kirk Douglas did great job as Spartacus but for me the best charachter in this movie was Laurence Olivier as Crassus. He brings on of the best villain performances I've ever seen. Spartacus had a lot of influence on Ridley Scoot's Gladiator, from way of acting (especially the similarity between Joaquin Pheonix and Laurence Olivier's character) to the way camera moves and shots are taken. This is truely a great historical film and a classic you should see. It will be hard for me to rank it amongst other Kubrick's films but I will try it (don't get angry if you disagree).

It is very much part of Hollywood folklore that having dispensed with the services of Anthony Mann, producer and star Kirk Douglas brought in Stanley Kubrick with whom he had worked so effectively in 'Paths of Glory'. This represented a daunting challenge and Kubrick passed with flying colours. The rest as they say is history although Douglas always felt that Kubrick was not as grateful as he should have been!

It would be well-nigh impossible now to assemble a cast of such substance and quality. There were bound to be clashes of temperament of course and the animosity between Olivier and Laughton has been amusingly recounted by Peter Ustinov who picked up an Oscar as Best Supporting actor. Olivier here is in his physical prime and is magnificent in the role of Crassus. He is ruthlessness incarnate but tender in his scenes with the Lavinia of Jean Simmons. He had previously directed her in 'Hamlet' and their professional bond is palpable.

There are scenes which are indelibly etched notably the gladiatorial combat between Douglas and Woody Strode and the scene where the slave army watches the legions of Crassus forming for battle which must surely have been inspired by Eisenstein's 'Alexander Nevsky'. The score by Alex North although harsh captures perfectly the brutality of the times whilst Russell Metty's cinematography is outstanding.

Forget the others, this is the only gladiator film that really matters and it will never be surpassed.

The darkest historical epic. No dancing girls, no chariot races, filmed in sombre browns and reds. Nominally directed by Kubrick but Douglas, as a very 'hands on' producer was responsable for the operatic sweep of the film. I was astonished when revisiting the film in 1991 at the cinema at the bravery of the project-to have the hero cry several times, once even out of self pity and with a heart rending ending! The film has depth and weight, the characters are well drawn. The performances are almost flawless, Douglas managing as actor to create tension in each scene-Olivier, not withstanding his eyerolling mannerisms is perfectly cast. The minor parts are richly drawn-gravel voiced Charles McGraw, Herbert Lom and Woody Strode. The cinematography and music are flawless. Only John Dall as a very modern Glaberus and John Ireland as Crixus seem out of place. Ironically, despite the downbeat tone of the film it is impossible to watch it without being uplifted through your tears of compassion. Unofficialy remade as Braveheart...watch one after the other and you'll see the similarities in mood, theme and even the battle choreography. Spartacus would be my 'desert island' movie.

As most are undoubtedly aware this is the film that the director virtually expunged from his repertoire. But why did Stanley Kubrick really disown SPARTACUS (1960)? The answer can be summed up in two words: absolute control. Kubrick wanted total administrative as well as artistic authority over the making of the film about a revolt of gladiators and slaves in ancient Rome.

But you will notice that Bryna Productions not only financed SPARTACUS but also an earlier film directed by Kubrick, PATHS OF GLORY (1958). Bryna was Kirk Douglas' film company and, as most filmgoers know, he was the star of both films. Besides having all the money to make the films, Douglas had artistic vision as well. Only three weeks into what would prove to be an incredibly complex and arduous production, Douglas fired venerable director Anthony Mann (RAW DEAL, RAILROADED,THE FURIES, THE NAKED SPUR, THE MAN FROM LARAMIE, MAN OF THE WEST, etc.) from SPARTACUS. With only two days notice, Kubrick was hired to replace him.

Shooting PATHS OF GLORY, Douglas had confined his criticisms and objections to Kubrick's failed rewriting of the script (they went with the original screenplay). Douglas' complaints and artistic influence were far greater on SPARTACUS, much to Kubrick's chagrin. Though the director craved autonomy over every aspect of the film, Douglas would not budge. A tense compromise was reached but ultimately Douglas had the last word. Kubrick saw himself as just a hired gun. And he would never allow himself to be placed in this position again.

Later, both men would complain about the film's outcome and each other. They never made another movie together.

But SPARTACUS is no uneven patchwork of divergent ideas. The film is cohesive and arresting. At the restored version of three hours and eighteen minutes, there is practically no dead footage in the film. Dalton Trumbo's screenplay is surprisingly economical, with sharply drawn characters placed against the sweeping historical majesty and violent sociological tumult of ancient Rome. Quite plainly, the gloriously inventive music by Alex North is among the greatest scores ever written for a motion picture. And despite Kubrick's bad experience, he managed to guide the actors towards creating outstanding work (a best supporting actor Oscar for Peter Ustinov). He even transformed the very real enmity between Laughton and Olivier into an on-screen asset. His other contributions were considerable also (the large scale and power of the battle sequence, for example). In the end, for the film at least, the clash of giant egos proved fortuitous. Recommendations: for greater insight and detail on this and Kubrick's other films I urge you to seek out Jan Harlan's excellent documentary, STANLEY KUBRICK: A LIFE IN PICTURES, and Vincent LoBrutto's exhaustive, highly informative biography, STANLEY KUBRICK. For the producer's views on SPARTACUS and its director, take a gander at Kirk Douglas' very candid autobiography, THE RAGMAN'S SON.