The film is as large, glutinous, beautiful, and sensorial as ancient Greece itself.

Rating: 10/10 (25 November 2004)

Aristotle hailed tragedy as the highest form of art. It is only fitting that Oliver Stone's Alexander be presented in the dramatic fashion of the ancients. Homeric like verse flows through the characters marvelously and effortlessly. The dialogue is rich with symbolism and wit, and the actors' voices soar with a raging intensity. The players seem to move within a world too mythically august to be real, yet too gritty to be false.
The triumph of the film rests on the wonderful cast, ravishing scenery, and the tragic tale of victory, loss, and infamy. Alexander is a wonderful myriad of renegade film making, splendor, and humanity. The film stays with one long after one has left the theater, because of the its surreal visions and the multitude of philosophical questions it raises. Throughout the film one is bombarded by a fury of engrossing and bizarre imagery; haunting memories and breathtaking places. The majesty of the most flowering artistic period of all time is explored in detailed fantasy, giving us a glimpse into the past, when Homer was the Bible, and art was overwhelmingly prominent and celebrated. The glory of Babylon, Macedonia, and India shine in luminous color and depth. The pacing of the film is drunken and chaotic, emulating what is true in life; sometimes unfocused, confused, as it seeks to illuminate the conflicted Alexander. The audience is presented with Alexander's nightmare, through his eyes, an unusual, but fulfilling and new approach the the epic genre. Mary Renault's literary masterpieces of the fictitious and historical Alexander are obvious influences, as scenes from Alexander's childhood are reminiscent of those in Fire From Heaven. The focus is on Alexander's personal exploits, and influences, which are fascinating and highly stirring. Stone paints the portrait of Alexander the tragic and human hero, rather than Alexander the epic hero. Unlike the vapid portrayal of ancient heroes in film's like Troy (not a fault of Homer's), Alexander is a rounded, heartbreaking, and realistic hero. Alexander, played brilliantly by the talented Colin Farrell is a tortured soul, lusting for glory, desperate for love, and in dire need of fulfillment. Alexander's drunken brute of a father, played flawlessly by Val Kilmer, and his overbearing mother Olympias, played with equal gusto by Angelina Jolie tear their son in two with their expectations. Alexander's internal struggle between being the man his father wants, and the boy cherished by this mother is the central development of Alexander's character. He eventually becomes a man, but still remains a shining youth, wide eyed and full of ideals. We are confronted with Alexander the human being. He writhes in grief and burns with passion. His success as a leader stems from his ability as a general and king, fighting side by side with his men, rousing their spirits with his glorious speeches, and treating his comrades as equals, imperative to his mission. The combination of youthful enthusiasm and stubborn will made for a winning combination as Alexander the Great was never defeated. The film only includes two of Alexander's numerous battles and victories. The first battle at Gaugamela is an accomplishment in film making. Dust swirls and blinds, an eagle soars above the masses giving one a breathtaking birds eye view of the battle, the camera shakes, one loses his senses, and all becomes chaos. The reality of the battle is stunning and honest. Darius, Alexander's Persian adversary is shown as a powerful figure in battle, but the audience does not get to know the character, as Alexander himself did not know his own enemy. War becomes a gray area, the good vs. the bad is unclear as it often is in reality. The second battle takes place in India, and the adversaries are even more unclear and frightening. Elephants boom through the jungle and stand on their hind legs to challenge Alexander's horses. Beautiful shades of red and yellow soak the jungle floor and ceiling as Alexander nears death. Stone chose to make Alexander's bisexuality a focus in Alexander. Homoerotic imagery is prevalent, as sensuous men in short skirts and eyeliner flit across the screen in a fog of insatiable beauty. The endless imagery of smoldering male youths lends accordingly to the Greek sensibilities of the time. Hephaistion (Jared Leto) heats up the screen with his flirtatious, impossible blue eyes, that run like silver arrows through Alexander's heart (as well as the audience's). Some of the most loin igniting moments come from scenes involving the duo, who's chemistry is undeniable. Hephaistion is clearly illustrated as Alexander's soulmate and most cherished lover, as they consummate their love in touching declarations and heart melting exchanges. Hephaistion's boyish awe and calm stabilizes Alexander's stubborn idealism, and vice versa. Leto plays the role of Alexander's most trusted companion in a way that is so convincing, the need for a love scene is unnecessary (although I certainly wouldn't have minded). His lustful glares are overt, his voice soothing, and his love true and all encompassing. Their relationship certainly was up to snuff with the heroic lovers they worshiped, Achilles and Patroclus, and in the name of tragedy their end was just as heartbreaking...
FULL REVIEW: http://thepopdiaries.blogspot.com/