Spartacus

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.

A famed masterpiece and marvellous epic version about Spartacus life that won 4 Oscars, containing exciting drama and overwhelming battles featuring thousands of real extras. The true story of a gladiator who leads other slaves in a rebellion against the power of Rome in 73 BC. This is the classic version about the true story of gladiator Spartacus. At the beginning , the Thracian slave laboring in harsh rock, when he's purchased by obese Battiatus (Peter Ustinov). Brought back to Capua in a gladiator's school, he meets corpulent gladiator named Draba (Woody Strode) and falls in love with Varinia, a gorgeous slave (Jean Simmons). He escapes and stirs up all gladiators and slaves in a revolt (73 B. C.) against the power of Rome .After various generals are vanquished , the rebellion is put down by Crassus (Laurence Olivier) who confronts with wily old senator Gracchus (Charles Laughton). Spartacus actually died in battle and his body was not found. Electrifying Excitement!. The Electrifying Spectacle That Thrilled the World!. Human Desires so Strong they changed the course of History...of a Rebellion that shook a Civilization in a Pagan era, 71 B. C....the grandeur and might of Rome and the challenge of an immortal gladiator...of a love that changed the world.

Spartacus history, based on Howard Fast's novel, is imaginatively brought to life on groundbreaking frames with great production values, outstanding scenarios and Kubrick's control of the massive battles is commendable. Sword cross, drama, gladiators fights abound in this spellbinding adaptation on audacious Spartacus existence, one of the most rebels in the history. Kirk Douglas, whose political leanings are amply on display herein, also served as executive producer , surrounding himself with best talent available. Magnificent climatic battle scenes, featuring 8.000 real, live Spanish soldiers to stunning effect. It is a fitting description of Spartacus character, and it doesn't insult the viewer's intelligence. But it is in the observation of human detail and in many memorable little scenes when the film gets splendor. The picture score most heavily over other epics and in which it finds an inner strength. It's all immensely grand, though predictable , but also its predictability is redeemed in part by the charismatic performances of excellent starring with flawless portrayals and all around with the best talent available. Jean Simmons as Varinia , Charles Laughton as Gracus Peter Ustinov as Batiatus, John Gavin as Julius Caesar, Nina Foch, John Ireland, Herbert Lom, John Dall, Charles McGraw, all do commendably craftsmanlike work. A version featuring Kubrick's 'director cut' is nowadays available featuring a restored, controversial homoerotic bath scene wit Laurence Olivier and Tony Curtis. It contains a rousing and pulsing musical score by Alex North. As well as impressive cinematography in mighty 70mm and on the Giant Panoramic Screen by Russsell Metty with colorful images when the rebels are defeated and crucified along Via Appia, in a sea of crosses silhouetted against a sunset. The film was excellently directed by Stanley Kubrick that gave much-desired financial independence. Anthony Mann is uncredited as co-director.

The Spartacus life was previously adapted in 'Spartacus' (2004) by Robert Dornhelm with Goran Visnjic, Ben Cross, Angus McFayden, Ian McNeice, Rhona Mitra, Alan Bates. 'Spartacus' (1952) by Riccard Freda with Massimo Girotti and Ludmilla Tcherina. 'The son of Spartacus'(1962) by Sergio Corbucci and with Steve Reeves and a silent adapatation Espartaco (2013) by Giovanni Enrico Vidali . And TV series 'Spartacus , Blood and Sand' (2010-2013) with Liam McIntyre, Erin Cummins, Lucy Lawless, John Hanna. The movie will appeal to people enthusiasts for historic deeds and epic feats.

From what little I've read of this film it was lucky to have been made at all. Some very big talents had some very big egos and those egos clashed repeatedly. Original director Anthony Mann was replaced by Stanley Kubrick by Producer/Star Kirk Douglas among other clashes.

But the result was all worth it. The stars all give top notch performances, but the mark of a really great film is the memorability of each individual in the ensemble. To give a few examples, Charles McGraw as the sadistic trainer at the gladiatorial school, John Dall as Sir Laurence Olivier's protégé, and John Ireland as Kirk Douglas's fellow gladiator trainee are all memorable in the brief roles they have.

Kirk Douglas wisely opts for a straightforward interpretation of a hero in the title role of Spartacus. He's a BC everyman, born into a world which hadn't heard anything about human rights, he knows and feels he's not just cattle. Catch the alternating scenes of Douglas and Sir Laurence Olivier addressing the slave army and the Roman Army. Olivier with his years of Shakespearean training coming across as the tyrant to be, and Douglas in simple prose talking about the slaves fighting for their hopes and dreams. Very effective.

The plot concerns a revolt at a gladiatorial school which mushrooms into a crisis for the Roman Empire. Political factions led by Olivier as Crassus and Charles Laughton as Gracchus seek to use the slave revolt to further their own ends.

Laughton as always is a wonder. It's a bit of unusual casting for him because his parts are usually those of very tortured souls. His Gracchus is a sly rogue, but a decent man. One of my favorite movie lines of all time is delivered by him addressing the Roman Senate where he says he'll "take a little republican corruption for a little republican freedom."

Another sly rogue in the film is Peter Ustinov who won the first of his two Oscars as Batiatus the owner of the gladiatorial school. Like so many others I'm sure in those days, he's just trying to come out on the winning side when doing so could be a life or death situation.

Jean Simmons as Varinia, beloved of Spartacus, has the only woman's part of any substance. But when was Ms. Simmons bad in anything. One of the most underrated and under-appreciated actresses in the history of film.

The lessons about man's desire for freedom and to control his own destiny are eternal and valid. And this film will be also.

I know my summary may sound opinionated...but I couldn't help being entertained by this film. If I had any complaints it would be there are one or two parts that suffer from uneven pacing and in the latter half especially there are a lot of wordy speeches from Kirk Douglas. That said, it is very well made, with sweeping cinematography, beautiful costumes and well constructed sets. The score is triumphant and bombastic, Kubrick's direction is secure and the script is surprisingly intelligent and knowing. Also the action is brilliantly done, and the performances are to be much applauded, with Kirk Douglas believable and sincere in the title role, Jean Simmons alluring as Varina and Laurence Olivier, Peter Ustinov and Charles Laughton stealing every single scene they are in.

Overall, maybe not Kubrick's very best, but a fine historical epic. 9/10 Bethany Cox

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.