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Subject: Iran outraged by Hollywood war epic
Softwar    3/13/2007 3:19:42 PM
"http://news.yahoo.com/s/afp/20070313/wl_mideast_afp/afpentertainmentusiran_070313120951"

TEHRAN (AFP) - War epic "300", a smash hit in the United States for its gory portrayal of the Greco-Persian wars, has drawn the wrath of Iranians for showing their ancestors as bloodthirsty "savages".

The press, officials and bloggers have united in denouncing the film as another example of "psychological warfare" against Tehran by its American arch enemy at a time of mounting tension over its nuclear programme.

"Hollywood declares war on Iranians," said the headline in the reformist daily Ayandeh-No of the film which tells the story of the 300 Spartan soldiers fighting off ancient Persians in the Battle of Thermopylae.

"It seeks to tell people that Iran, which is in the Axis of Evil now, has for long been the source of evil and modern Iranians' ancestors are the ugly murderous dumb savages you see in '300'," fumed the paper on its front page.

A cultural advisor to President Mahmoud Ahmadinejad described the film as "American psychological warfare against Iran."

 
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swhitebull       3/13/2007 9:12:37 PM
 
 
    Just because a King, facing immense domestic opposition, but does the right thing by taking on the barbarian hordes of the east, and sacrifices his kingship for the sake of greater Greece? This makes the modern day Iranians savages and subject to psychological warfare? What ARENT The Mad Mullahs offended at?
 
 
Methinks his turban is wrapped a little too tightly - OR-   maybe it hits a little bit too close to home!
 
 
Go Frank Miller.  Whats even MORE telling is that it opened to $70,000,000.  What untapped emotional wellspring has Miller touched?  And how will the Hollywood establishment react to this $$$ bonanza? 
 
 
Can the Anabasis of Xenophon be far behind? (been there, done that - Sol Yurok's The Warriors).  It has it all all - Persian succession crisis (usually resolved by assassination), beheadings, fight against impossible odds? Who would the mad mullahs savage this time at the battle of Cunaxa? treacherous Persians at a banquet. Then the March Upcountry. Great stuff for Hollywood to do!! 
 
 
swhitebull - odds they see the box office and jump on board the bandwagon? 
 
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J       3/14/2007 4:46:40 AM
Pick a movie and chances are there'll be a group out there that'll be offended by it. I remember news about a church burning Harry Potter books back when that movie came out. My advice to the Iranians or any other group which may get their panties in a bunch over a work of fiction- lighten up.

And of course the neoconservatives are going to be positively giddy about 300. Though they'd probably call for Miller's head on a platter as a damn dirty liberal if they were to read his Dark Night Returns graphic novel.

Back when he was writing Sin City he included a page or two about the battle of Thermopylae to illustrate his characters picking a good place to fight. As he learned more about that bit of history it inspired him to write a highly fictionalized version of it in 300 which came out in the late '90s. I doubt he had a political agenda.

I'm fairly certain Hollywood will be pleased that their 70 million dollar investment is paying off.

Looks like a darn good flick. Going to try and see it this week if I can find the time. Looking forwardto Sin City 2 as well.





 
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scuttlebut steve       3/15/2007 3:44:16 AM
shouldnt the bloodthirsty savage persians from "300" be offended by their bloodthirsty cowardly tinpot backwards savage descendants in iran, not other way around?
 
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sentinel28a       3/15/2007 3:52:03 AM
They probably would be.  Cyrus the Great would've already tried to march on Baghdad by now.
 
Since I'm vastly offended by 90% of Iranian media, I think they can tough it out a little.  I mean, I'm fairly certain the Iranians would love it if the Spartans were slaughtering, say, the Jews.  (I wonder if they think Borat was an actual documentary.)
 
As for Frank Miller, his DKR is as much a shot at quote "conservativism" as V For Vendetta was for Alan Moore.  (The book, not the movie.)  However, since Frank is already planning on writing a Batman novel where Bats goes after al-Qaeda, he's hardly a far left liberal.  He's probably more libertarian than anything else.
 
 
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swhitebull    Ancient History Historian Victor Davis Hanson on '300'   3/15/2007 6:26:29 AM

Pick a movie and chances are there'll be a group out there that'll be offended by it. I remember news about a church burning Harry Potter books back when that movie came out. My advice to the Iranians or any other group which may get their panties in a bunch over a work of fiction- lighten up.

And of course the neoconservatives are going to be positively giddy about 300. Though they'd probably call for Miller's head on a platter as a damn dirty liberal if they were to read his Dark Night Returns graphic novel.

Back when he was writing Sin City he included a page or two about the battle of Thermopylae to illustrate his characters picking a good place to fight. As he learned more about that bit of history it inspired him to write a highly fictionalized version of it in 300 which came out in the late '90s. I doubt he had a political agenda.

I'm fairly certain Hollywood will be pleased that their 70 million dollar investment is paying off.

Looks like a darn good flick. Going to try and see it this week if I can find the time. Looking forwardto Sin City 2 as well.







from national review:
 

Last Night at the 300   [Victor Davis Hanson]

I went to the Hollywood Premier of the "300" last night, and talked a bit with Director Zack Snyder, screenwriter Kurt Johnstad, and graphic novelist Frank Miller. There will be lots of controversy about this film?well aside from erroneous allegations that it is pro- or anti-Bush, when the movie has nothing to do with Iraq or contemporary events, at least in the direct sense. (Miller's graphic novel was written well before the "war against terror" commenced under President Bush).

I wrote an introduction for the accompanying book about the film when Kurt Johnstad came down to Selma to show me a CD advanced unedited version last October, but some additional reflections follow from last night.

There are four key things to remember about the film: it is not intended to be Herodotus Book 7.209-236, but rather is an adaptation from Frank Miller's graphic novel, which itself is an adaptation from secondary work on Thermopylai. Purists should remember that when they see elephants and a rhinoceros or scant mention of the role of those wonderful Thespians who died in greater numbers than the Spartans at Thermopylai.

Second, in an eerie way, the film captures the spirit of Greek fictive arts themselves. Snyder and Johnstad and Miller are Hellenic in this sense: red-figure vase painting especially idealized Greek hoplites through "heroic nudity". Such iconographic stylization meant sometimes that armor was not included in order to emphasize the male physique.

So too the 300 fight in the film bare-chested. In that sense, their oversized torsos resemble not only comic heroes, but something of the way that Greeks themselves saw their own warriors in pictures. And even the loose adaptation of events reminds me of Greek tragedy, in which an Electra, Iphigeneia or Helen in the hands of a Euripides is portrayed sometimes almost surrealistically, or at least far differently from the main narrative of the Trojan War, followed by the more standard Aeschylus, Sophocles and others.

Third, Snyder, Johnstad, and Miller have created a strange convention of digital backlot and computer animation, reminiscent of the comic book mix of Sin City. That too is sort of like the conventions of Attic tragedy in which myths were presented only through elaborate protocols that came at the expense of realism (three male actors on the stage, masks, dialogue in iambs, with elaborate choral meters, violence off stage, 1000-1600 lines long, etc.).

There is irony here. Oliver Stone's mega-production Alexander spent tens of millions in an effort to recapture the actual career of Alexander the Great, with top actors like Collin Farrel, Anthony Hopkins, and Angelina Joilie. But because this was a realist endeavor, we immediately were bothered by the Transylvanian accent of Olympias, Stone's predictable brushing aside of facts, along with the distortions, and the inordinate attention given to Alexander's supposed proclivities. But the "300" dispenses with realism at the very beginning, and thus shoulders no such burdens. If characters sometimes sound black-and-white as cut-out superheroes, it is not because they are badly-scripted Greeks, as was true in Stone's film, but because they reflect the parameters of the convention of graphic novels, comic books, and surrealistic cinematography. Also I liked the idea that Snyder et al. were more outsiders than Stone, and pulled something off far better with far less resources and connections. The acting proved excellent?again, ironic when the players are not marquee stars.

Fourth, but what was not conventionalized was the martial spirit of Sparta that comes through the film. Many of the most famous lines in the film come directly either from Herodotus or Plutarch's Moralia, and they capture well, in the historical sense, the collective Spartan martial ethic, honor, glory, and ancestor reverence (I say that as an admirer of democratic Thebes and its destruction of Sparta's system of Messenian helotage in 369 BC).

Why?beside the blood-spattering violence and often one-dimensional characterizations?will some critics not like this, despite the above caveats?

Ultimately the film takes a moral stance, Herodotean in nature:  there is a difference, an unapologetic difference between free citizens who fight for eleutheria and imperial subjects who give obeisance. We are not left with the usual postmodern quandary 'who are the good guys' in a battle in which the lust for violence plagues both sides. In the end, the defending Spartans are better, not perfect, just better than the invading Persians, and that proves good enough in the end. And to suggest that ambiguously these days has perhaps become a revolutionary thing in itself.
 
 
swhitebull - I am abandoning wife and kids (at least the little ones) this Saturday afternoon, to watch it twice!!  Cant wait for Sin City 2 as well. V for Vendetta is fantastic as well. BTW - Zack Snyder was the director for the remake of Dawn of the Dead! And many here know I am a zombie flick afficianado (even if they ARE fast in his movie!). So I am predispossed to like '300' regardless.
 
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reefdiver       3/15/2007 10:06:27 AM
I like what someone interviewed on some news channel or talk show last night recalled -  that Amehdinejad has previously said Iranian history didn't start until Islam but now the Iranians are complaining about a work of fiction losely based on Persian history over 1000 years before Islam.
 
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swhitebull    HOnoring the Thespians at Thermopylae   3/15/2007 11:06:44 AM
From James Robbins, national review:
 
 
Master Thespians
Don't prepare for glory.

By James S. Robbins

The runaway blockbuster 300 has prompted renewed interest in the classics. The movie has it all ? heroism, sex, violence, good vs. evil ? who knew dead white men could be so interesting? The historical inaccuracies in the movie are legion, as in many historical films (let alone those based on a graphic novel). But if the movie motivates people to learn about the true story then I’m all in favor. And for those who want to see in it an allegory of the Iranian threat, just consider what Xerxes would have done if he had a nuclear weapon. “Hot gates” indeed.

One is attracted to the human drama of the story. A small band of fighters willingly sacrifice themselves against vastly superior forces to buy time so armies could assemble to defeat the enemy later. It is no mystery why the defense of the Alamo was soon dubbed “America’s Thermopylae.” In fact the first Alamo monument bore the inscription, “Thermopylae had her messenger of defeat - the Alamo had none.” Leave it to the Texans to one-up the ancients.

But the analogy is inexact, because of what the respective groups were defending. The heroes of 1836 were fighting for freedom. The Spartans fought to maintain their autocratic state. A better analogy is not the Alamo but Iwo Jima, from the Japanese point of view (also recently dramatized in Letters from Iwo Jima). Both groups of defenders, Spartan and Imperial Japanese, were prepared to die fighting the enemy ? but not for things we value.

Yes, we can admire them on the human level, for the bravery it took to fight against hopeless odds for the cause in which they believed. Courage, self-sacrifice, and indomitable spirit are qualities we like to see in our heroes.  But is that enough? Shouldn’t we take the cause into account too? Seriously, in the battle of Spartans vs. Persians, for whom do you root? Both were unsavory. You can relate the contest to Iran vs. Iraq in the 1980s ? you wish both sides well and give support to the weaker. Or the Soviet Union vs. Germany in World War II ? we backed Stalin for the same reasons the Athenians fought alongside the Spartans. For the moment, there was a common enemy.

Surely the Athenians did not see themselves as part of a common heritage with the Spartans, either politically or ethnically. The funeral oration of Pericles during the later Peloponnesian War is a laundry list of reasons why Athens represented a superior civilization to then-enemy Sparta. Throughout the Cold War, students of Thucydides pondered the parallels between the U.S./Soviet rivalry and that of Athens, a free-trading, democratic, pluralistic sea power, versus Sparta, an autarkic, totalitarian, xenophobic land power. Many noted uncomfortably that Sparta eventually won. The parallels run deep, and the analogy is well aligned; we can trace our democracy back to Athens in much the way the Soviet Union could trace its dictatorship back to Sparta.

The Spartans used the rallying cry of “Hellas for the Greeks” when it was convenient for them, but they were well known for only fighting when the interests of their city were at stake. Even Leonidas’s self sacrifice at Thermopylae was conditioned by an oracle’s vision that Sparta would either lose one of its kings or be destroyed. As well, Herodotus observes that Leonidas was motivated by “the wish to secure the whole glory for the Spartans.”

If you can’t quite get behind rooting for the Spartans, there were other heroes on the scene at Thermopylae, people the movie ignores. Herodotus tells us that when it became clear that the Greek defensive position had been flanked, Leonidas ordered the men from the other Greek states to leave, to prepare for the confrontation yet to come. But the 700 men of Thespiae, led by Demophilus, refused. They chose to stand with the three hundred Spartans, to fight beside them. “So they abode with the Spartans,” Herodotus wrote, “and died with them.”

Who were the Thespians? No, not actors ? hard to imagine seven hundred or even seventeen taking up arms these days. They came from Boeotia, near Mt. Helicon, a little more than midway between Thermopylae and Athens. Their polis was traditionally a democracy. The Thespian Hoplites were much more akin to the volunteer citizen soldiers long seen as the backbone of the American fighting forces. Unlike the Spartans, the Thespians did not spend their lives drilling and training for war while living off the sweat and toil of those the enslaved Helots. The Thespians were free men who lived freely, and defended their city because their conscience demanded it.

What little we know of Thespiae leads us to believe that life there was pleasant, and cultured. The chief god of their city was Eros, and the city’s statue of the love god was famous throughout Greece (so much so it was stolen twice by the Romans). Because of the p