300 (Single-Disc Widescreen Edition)

This remarkable and inspirational film is a literal tranlatrion from a visual novel or comic book format novel based on the famous stand of Leonidas King of Sparta and his small army of volunteers at the pass of Thermopyle. Because the director chose to make his movie resemble the picture/novel, it is not a life-like film, though close to that, but somehow, far more intense. As in the original artwork, non-important details of background, character and plot and even of situation, are eliminated, and this elimination of detail allows us to focus all our attention on the power of the story. And, it becmes all the more powerful because the story is true; Leonidas did lead his men against the overwhelming masses of the Persian invaders, and although the Spartans did not stop the ivasion, they delayed it for a time, thereby teaching the invaders that conquest of the Greek city-states would cost them far more than they imagined. As one would expect in a comic book or visual format devoted to the struggles of heroes, the Greek warriors are shown as a band of supremely beautiful, athletic and muscular athletes. Physical magnificence overwhelms almost everything. That kind of magnificence fiits the Greek tradition which says that proud nakedness is a sign of courage; even of sanctity. That's why the statues of Greek heroes are shown naked, or in the originals, wearing helmets but holding nothing but their lances. Bravery requires no covering. Logic suggests that the actors in this film, to be true to history and tradition, would be both naked and magnificent. But, present reality being what it is, a film of frank nakedness certainly wouldn't be distributed in this country, and besides, it is virtually inconceivable that an entire cast of perfectly matched fine specimens of masculinity could be found; therefore, we bow to the costumer's decision to clothe the performers in something like leather Speedos, and the animator's decision to use digital techniques to multiply on screen many "copies" of one or wo archetypes, and to animate them endlessly. But all this is done with such facility that in only a few seconds of watching the film one is unconscious of the effort to achieve the effects, and engrossed in a forever-engrossing story. It is the equivalent of doing on tape what Greek sculptors did during the Helenistic age when they carved the famous Altar at Pergamum. The figures are exagerated and many are naked, details are eliminated, and the emotional and physical exertion of the warriors in their battle dominates one's perception; the marble seems to sweat, to bleed, and we can almost hear screams issuing from some of the faces of the wounded and dying. There's another version of this story available and for rent; THE THREE HUNDRED SPARTANS. You can find it at Critics Choice or any number of othe sources. Although it was made three or four decades ago, it was a well made Hollywood technicolor film and is an excellent and realistic re-enactment of the incident at Thermopalye. Matter of fact, it migt be of some use to compare the two versions. If you do you'll see that in this newer but more abstract version, Persia and the Persian King is not shown as a real or historic indiidual, but rather as a symbolic figure on a rich and fantastic catafalque who represents not the king, but tyrany and slavery and abject surrender, for to the Spartans the warriors of the King are seen as slaves. And the Spartans distinguish themselves as free men who will never surrender themselves or allow themselves to be enslaved. Of course its done with a kind of confrontation of physiques as one might see it in a wrestling ring, when a big baddie associated in name and style with death and perversity, confronts a clean or at least cleaner cut athlete who fights honorably and represents all the cheering audience thinks of as good and worthy, wihin themselves. To get an idea of the story is easy enough: many commentators have described it in detail, so there's no need for me to go into it here. There are not many characters, for the plot is lean. Thre's a heroine, a villanous traitor on the front and another in the Spartan council chamber. But, nothing described by anybody here can adequately convey the power of the story; its effect is electric and rousing beyond almost anything you can imagine. Irrational though it may be, it is as though some part of Leonidas' courage manages to get itself itno your bloodstream and there to mingle with your hormones and genes in such a way as to nullify all the petty slights, insults and compromises we undergo every day, and to allow us to touch the fuel source of the flame of manhood that burns within us all. It is a celebration: At a time of so many ignoble compromises, a triumph. Call it a seance, if you like. Or a testosterone high. Or think of it as the pep talk of a great coach in the smelly locker room of conflict. Call on your memories of General Patton and imagine why his army held him in such high esteem. Or, if you like, consider it a specific against the endlessly onanistic Politically Correct bilious whining of those who don't either respect themselves or like men, and who hate raising boys.

Before going to see "300" this afternoon I watched the 1962 film "The 300 Spartans." I have a strong affection for the marching music in the film and the shot of Leonidas leading the Spartan phalanx for the last time, plus an enduring sense of injustice at the Persians dispatching the last Spartans by wave after wave of cartoon arrows. I had read Frank Miller's "300" when it was first published in five issues so I knew what to expect. This film is not history: it is art. Granted, we are talking post-modern art, but that still counts as art in a world where computers are as important as cameras when making a movie. The Battle of Thermopylae was fought in 480 B.C. The Persian army of Xerxes (Rodrigo Santoro) is invading Greece with the largest army the world has ever seen. With the Spartan army prohibited from marching north because of a religious festival, King Leonidas (Gerald Butler in fine form) heads for the natural bottleneck on the main road between Locris and Thessaly with the 300 men of his bodyguard. After three days of battle the Spartans were betrayed by a man named Ephialtes who showed the Persians a mountain path that led behind the Greek lines. While the rest of the Greek soldiers retreated, the 300 Spartans and 700 Thespians were slaughtered to the last man. Simonides composed a famous epigram that was engraved as an epitaph on a commemorative stone placed on top of the burial mound of the Spartans at Thermopylae: "Go, stranger, and tell the Spartans, That we lie here in obedience to their laws." Miller was inspired by historical events but was not constrained by it in telling his story. In his version Ephialtes (Andrew Tiernan) is no longer a poor shepherd but a deformed figure who was born to parents who fled Sparta rather than leave their infant on a rock to die, adding elements of pathos and irony hitherto unseen with regards to the character. Nor is this movie the attempt to faithfully bring Miller's art to life that we saw with "Sin City," which is perfectly fine with me. Besides, director Zack Snyder's film reminded me more of lots of other films, from "Gladiator" to "Hero," more than it did "Sin City." I want to say that what we saw of this type of modern filmmaking in "Sky Captain and the World of Tomorrow" has been refined, but that would be quite an ironic comment to make about such a gory and gritty film. Ultimately, the movie is rather impressionistic in nature, emphasizing graphic images over everything else, which brings us back around again to the idea that "300" is art and not history. I was quite pleased the overall "300" met my expectations. During the first part of the battle Snyder ( "Dawn of the Dead" ) resorts to the rapid series of cuts that I have come to deplore in contemporary action films because I can never tell what is happening. I understand that a battle is a sea of chaos, but if I cannot tell what is going on I become distracted. I want to see what is happening in order for the scenes to become memorable to me. Fortunately the rest of the movie takes full advantage of slow motion technique we see in the trailers and television spots for the film. In fact, "300" makes better use of slow motion than any film I can remember, mainly because the point is not to prolong the suspense (e.g., the end of the fight in "Rocky II"), but to let you see what is happening (e.g., River's fight scenes in "Serenity"). Think of watching big hits in football in slow motion replay and you get a sense of how Snyder is able to strategically slow down the action to see not only the power but also the grace of the violence. Looks are everything in this film, so the Spartans fight bare-chested, the better for their muscles to ripple, while the Persians might be the most overdressed warriors in cinematic history (although I admit that I have to wonder where the Spartans were hiding their helmets on the long trip from Sparta to the Hot Gates). "300" is a film that glories in visual excess as the army of Xerxes becomes a computer generated million man march and the pass at Thermopylae exists between towering pillars of rock. This may or may not be the most computer generated figures on the screen at one time in the history of the world, but I have to believe "300" offers the biggest piles of corpses we have ever seen. As if quantity was not enough to overwhelm the Spartans, Leonidas and his men are confronted by a towering Xerxes and a host of monstrous men and animals. The net result may well be the best comic book movie to date, despite the fact the hero is a historical figure and not a superhero. This adaptation plays up a subplot regarding what is happening back at Sparta while Leonidas and his body guard face annihilation as Queen Gorgo (Lena Headey) attempts to play politics with Theron (Dominic West), who complains about the legitimacy of the king's actions rather than deal with the reality of a Persian army coming to crush Greece. But it is hard to care about such machinations in the face of the historical record and the fact that the drama is happening at Thermopylae and not back in Sparta. There are notes sounded about saving Greece from the Persians and civilization from the evils of Asian mysticism, but the legacy of the Spartans has nothing to do with their role in the development of democracy. Almost two millennium before the Alamo there was this story of a group of warriors that sacrifice their lives in a battle so that their people could win the war. The story of the 300 Spartans at the Battle of Thermopylae is that of the first great last stand.

Love this movie, a classic!

Yes

While war and violence are morally wrong in the abstract human philosophies, shifting cultural sensibilities, and our (USA) pampered day to day existence, It is still part of who we are and it seeps out through our art into our society. We are the way God made us or how we evolved biologically, depending on your views. Either way, we are a violent species. Even if that is lost in the day to day world we live in, there is still an appetite for it. Our art, video games, TV, media, and films serve it up. Since the critics are not artists it is hard for some of them to see the truth of this film and many others released in recent years. Their tunnel vision, sour grapes, or just angry twisted lives make many of them compelled to spit vile upon anything visionary, or even just decent. I have grown tired of reading angry reviews where the reviewer writes as though he or she knows better and almost seems to pity us ignorant peons, lemmings, or what even the hell they consider us to be. Myself, my family, and my friends are not idiots and no where, except perhaps with people who rarely see films, are such conceited, self-important, and egotistic views represented by the people I know within the word I live. This film was great, pure and simple. It will be remembered as a great action film long after the drivel action of the day is forgotten. 300 holds you in it's grip from second one to the last scene. It is the sublime beauty of war that Joseph Campbell mentions in his works. Frank Miller has been an artist I have admired since I was a young boy. He has quietly been working away for the last several decades with no huge critical juggernaut coming down on him and suggesting he is pandering to any political dogma of the day. Now that the film is made, which is as close an adaptation as any author could hope for, the liberal critics are there, striking away at a work that spoke to Miller as a child. To suggest any political significance is reaching beyond ones wildest dreams. Real artists do not push political dogma, they represent what is in their soul and hearts. These news paper pandering nancy boys have nothing better to do than regurgitate hogwash in such a backwards fashion that even they themselves are just running in circles and making no real headway with what ever it is they think they should be doing to better this world. 300 is a film not a political movement. To criticize it as if it could convert people into middle East haters is just stupid. The Middle East and the USA do just fine gathering up enemies and haters all on their own. One small film, even one that would be an overt outright bash on either the East or the West would not sway the masses more than a drop in an ocean either way. To point out black and white racist overtones not intended is racist itself. As grand and spectacular as 300 is, it's still just entertainment for popular culture. It's stylized so much that to speak in terms of historical accuracy is just silly. Too many films of our times have passed themselves off as pseudo documentaries in order to effect some kind of cultural awakening or change when all they do is preach to the converted. Films are made in so many ways and varieties that it is just as amusing to watch the critics scramble between "Norbit" and "Flags of our Fathers" and all the while trying to maintain some level of intelligence rather than just reviewing films each on it's own merits for what it is and who it's trying to reach. Since so many films these days seem to annoy the critics I often wonder why they are film critics at all. They seem more suited to be writing angry complaint letters to companies about some busted back yard sprinkler. I want reviews, not angry critiques! Go away critics. You are not wanted. You are not needed. You are a sorry pitiful lot. A critique for the critics by a true film goer and viewer.

I will get it out of the way and say that this was not and was not meant to be a historically accurate depiction of Ancient Greece. It was never meant to be even when it was still just an Eisner-Award winning graphic novel from the mind of iconic graphic novelist and artist Frank Miller. With that out of the way I was able to watch and enjoy Zack Snyder's film adaptation on its own terms without the criticism of historical accuracies looming dangerously over my head. 300 deserves the label of being the first event film of 2007. From start to finish, Snyder's film practically screams blockbuster and popcorn and I wouldn't have it any other way. Frank Miller's 300 was at its time an interesting depiction of one of history's greatest military last stands. Miller already known for hyperstylizing the look and feel of the noir genre with his Sin City graphic novels, takes the same approach with his depiction of King Leonidas and his 300 Spartans taking a final last stand against Persian God-King Xerxes at a narrow mountain pass called Thermopylae (literally meaning Hot Gates in Greek). Zack Snyder took this graphic novel and painstakingly stayed true to the visuals Miller and his colorist wife, Lynn Varley put on paper. Looking back at my memory of some of the panels and images from the graphic novel. Snyder and his crew of art directors, cinematographers and CGI-artists were successful in translating almost every page of the graphic novel onto the screen. Like Robert Rodriguez's adaptation of Miller's Sin City, Zack Snyder's 300 pretty much brings the graphic novel to moving life. This means he stuck to the source material quite literally which limits his own take on the graphic novel. And like Rodriguez Snyder doesn't really put his own signature stamp as a director to the film. It's not too much of criticism since he does a great job of translating Miller's work onto film, but one wonders what sort of personal touches he could've added to the finished look that wasn't lifted from Miller's style and whether it would've changed the overlook look and feel of the film. The story is quite simple and just takes the basic summary of the historical event itself. Spartan King Leonidas (played with visceral gusto and machismo by Scottish thespian Gerard Butler) makes a decision to go to war and confront the encroaching and fast approaching massive Persian Army led by Xerxes (Rodrigo Santoro) intent on conquering the Hellenic city-states of the Greek Peninsula. Persian ambassadors ride forth to demand oaths of fealty from those city-states ahead of the army's path. Sparta is one such city-state, but different from the rest of its Hellenic brethrens. Sparta has gone down in history as a word synonymous with unbending dedication to a strict, ascetic warrior code. Warfare and battle were what Spartans were born and trained to do from an early age. Weakness and physical imperfections weeded out from the time of birth (the film explains just what happens to male newborns with physical imperfections and deformities). The answer Leonidas gives the Persian delegation could be seen as somewhat extreme, but not contrary to his nation's warrior-culture of never surrendering and seeing death in battle the greatest glory for a Spartan to achieve. From this sequence right up to the end of the film we get to see just how much of a warrior culture the Spartans were in extreme detail. It's during the prolonged battle scenes between Leonidas' Spartans and Xerxes army which will have everyone chomping at the bit. If you have to see this film for any particular reason outside of watching superbly-trained underdogs slaughtering and endless supply of enemy troops then you will most likely be disappointed by the slower scenes away from Thermopylae. Indeed, this film and its original source material would've worked even better without the extra filler Snyder and his writers added to give the film more depth. I'm all for more emotional depth and characterization in my films but when a movie is all about a bloody and heroic last stand of a few against the many, scenes which slow the story down does more to break the rhythm and tone of a film than add to it. Other than a deeper understanding of the kind of partnership Leonidas had with his Gorgo, his Spartan Queen, most of the subplots added by Snyder and his writers could easily have been left out and still get a kick ass action epic. It's the action scenes which reall stand out visually. Some people might see the style tricks of speed ramping certain action sequences then slowing it down considerably to show the minute detail of the battle scene as being to gimmicky, but I would disagree and say it actually gives the movie a fable-like quality in its storytelling. One thing I have to say about Zack Snyder as a director (his remake of George A. Romero's Dawn of the Dead better than what detractors have made it out to be) is that he knows how to film action and with special mention to bloody and gory action. He makes these scenes of dismemberments, decapitations, and disembowlments look like a piece of performance art. These scenes of carnage would be considered extremely gratuitious if it didn't look so computer-enhanced good. Even the way the blood flows, spurts and splashes look like something Jackson Pollock would take interest in. The speed up and slow down of the sequences also gives the fight scenes a certain rhythm that once an audience picks up on will follow it through to the end. This is why the scenes back in Sparta with a duplicitous politician and his powerplay to assume control and power seem such a downer instead of enhancing the sacrifice of Leonidas and his men. Those scenes just feel tacked on and completely superfluous. Luckily, there's not enough of them to slow down the frantic pace developed by the battle itself. The performances by all actors involved really doesn't require too much criticism or reflection over. Gerard Butler does a great and convincing job as the Spartan King and his conviction in confronting Xerxes and his army with so few seem very believable. It's not a star-making performance but it does show that Butler can add a bit of gravitas to a character and role so basic in characterization. Lena Hedley is radiant as his partner and Queen. Despite the weird sounding name of Gorgo, Hedley plays the strong-minded and equally influential wife to Butler's Leonidas. It's only her scenes back in Sparta as she tries to rally her people to support their king which keeps these slower sequences from fully pulling down the film. Really, the performances are just done good enough to keep the acting from becoming too campy or too serious. It's an action film and with enough action going on in the movie I could forgive the writers (both Miller and the screenwriters) from scrimping on character build up. All in all, Zack Snyder's film adaptation of Frank Miller's 300 succeeds in bringing the book to moving life. Throughout the run of the film it was hard not to get lost in the beautiful visuals. Whether it was the muted color pallette which puts most of the scenes in an almost sepia-tone look to over-emphasizing certain colors to set a certain mood. From oversaturation of reds in one sequence to one where everything seem to be tinted with the many shades of blues at night. This is what 300 will be best remembered for. It's technical use of CGI to paint the environment in unrealistic but beautiful ways which gives the scenes a 3-dimensional look to them when the actors are superimposed over them. The film really is a painting come to life and it shows once again how computer technology has now afforded directors in making what used to be impossible logistically to something that could be done with the limit being the artist's imagination. This movie will not win many acting, directing and even screenwriting awards, but it doesn't have to for people to enjoy it. It will entertain and pull its audience into a living and modern retelling of a legend. Whether all that happened on the screen was exactly as it happened in 480 B.C. doesn't matter. What it does show is that through retelling down the years even all the embellishments added to the story of Leonidas and his men doesn't diminish the fact that they did something heroic. For those excited to see 300 I am preaching to the choir. For those who are not quick to fall to the hype given the film I still recommend it for the epic spectacle Snyder and his band of filmmakers have put on the screen.

Ok I know what you're thinking. You look at the DVD cover and you see a 90% naked, screaming, digitally-enhanced guy and the title splattered in blood across the front. And you've heard the rumor that it's not shy to flash you throughout the movie. There's usually more skin showing at any one time than there is clothing. But this was their culture. It's historical. That said, I would agree that this movie probably isn't healthy for anyone who can't handle all the violence and exposure. Fair warning. But if you can see past that, or rather, see the sheer beauty and artistry in every shot, than you'll be able to really appreciate this movie a lot more. Because all this is mere eye candy to help express the underlying character sketch of a lost society where honor, freedom, courage, and human dignity were the pillars. Where you lived and died for that which you loved. Where the citizens walked free and proud under the sun, unafraid. The stark contrast between Sparta and the Persian's slavery, terrorism, and intimidation serves as a reminder of why we as Americans or British or Canadian, whatever your nationality might be-if you live in a society that believes in freedom and fights to defend it and to ensure that those who live under slavery and fear are liberated, that is the purpose of our society. Not to be rich or technologically advanced, but to live our individual lives in peace as free human beings and to ensure that that opportunity is available for everyone, to ensure that no one need live in fear. That ideology combined with the incredibly inspiring story of these 300's bravery in the face of overwhelming odds is what makes this movie so personal. We've all been to the place where we wonder if it's really worth it, if we're going to make it. Our circumstances might be different, but the feeling is mutual. It's at those times that I've turned to the example of Leonidas and his soldiers, who believed in something so much that nothing could deter them, not even death. Then I think to myself, "Is this problem really that insurmountable? Am I going to let it take away my freedom?" Because let me tell you, if you let your circumstance control your actions or your faith and belief in yourself, you have made yourself it's slave. Ok enough with the moralizing. On to the movie itself. There are so many elements that I love about it. As aforementioned, the artistry is incredible. Mind-blowing, really. I couldn't believe the texture and detail of motion in the shots, even if they were CGI. You just have to see it to believe it. The acting is not bad at all. In fact, I think it's the best performances I've seen from either Gerard Butler (Leonidas) or David Wenham (Dilios, the narrator). I especially loved Lena Headey's character (Queen Gorgo). I loved how she is just as personally strong as the soldiers to show that the strength was a part of the entire society, not just the military. She is treated with respect out of love: the citizens don't drop to the ground as she passes them in the street, but they acknowledge her with respect as a human being. And she has just as much place in the government and political affairs as Leonidas. Great way to show that manly men don't need to keep their wives under their thumb. And also that great men usually have a great woman behind them. Now you might expect that a movie that relies so heavily on it's visuals might be lacking in the screenplay. But oh my gosh is this ever not the case! There are so many incredible lines full of inspiration and truth. Perhaps my favorite is when Leonidas is torn about the imminent war. "What must a king do to save his world..", he asks. Queen Gorgo responds with, "It is not a question of what a Spartan citizen should do, nor a husband, nor a king. Instead, ask yourself, what should a free man do." Beautiful. I think "300" received a lot of stereotype as a testosterone-driven guy movie full of blood and boobs. But it is so much more than that. If you're too easily visually impressionable to see it objectively, than maybe you're not one for the Spartan ranks. But if you want an action-packed story, unbelievable artistry, and a moral that will inspire you to greatness, then Spartan, prepare for glory!

another great movie for the price and to complete the set

Excellent movie to watch on a 4k tv

5 stelle per il film. Sono un amante dei fumetti e amo la traspodizione in film di questi, a maggior ragione se sono fatti in questa maniera vi entusiasmerete do sicuro!! La inquadrature, i colori, c'è un uso "astuto" di tutte le tecniche da farvi davvero vivere il fumetto. La storia è una delle mie preferite. E' un cult alla stregua de "Il Gladiatore" per intenderci. Forse un pò più "soft" complessivamente per via del vincolo al fumetto stesso - causa l'attinenza non solo alla storia ma anche alle sensazioni precise degli angoli e dei dettagli che vengono evidenziati quando si legge il fumetto- Vi piacerà. Fate conto di vedere una sola ed unica puntata col meglio delle serie di Spartacus. dietro le quinte in alta, che non capita spesso :) 4 Stelle per la qualità d'immagine perchè sì, si vede l'alta definizione, ma non eccessivamente e -forse per via dello stile- spesso c'è davvero troppo rumore non solo nello scuro/buio ma anche nella luce. Alcuni dicono la compressione ma io credo che sia lo stile deliberatamente voluto dal regista per focalizzare quello che il regista vuole far notare meglio. Non era un film "facile" da fare soprattutto per non schifare i fan che già conoscevano il fumetto. Per me merita assolutamente di essere visto anche per chi si vuole guardare un bel film "duro e crudo" di quei tempi. Non resterete delusi.

presa con gli sconti della festa di primavera a poco, solo bluray. Edizione splendida, una delle cover più belle io abbia mai visto.

予定通り届きました。有り難う御座います。

One of the best film,100/100 movie.