Lord Larry likes oysters and snails

Rating: 8/10 (12 March 2011)

Sword and sandal epic finds Spartacus (Douglas), rising from servitude to king of the rebellion and the bane of would-be supremo Crassus (Olivier) misled at every opportunity by the wily and politically savvy Gracchus (Laughton). Joined by fellow slave John Ireland, he sets out to escape the continent, emancipating the chained masses along their way, much to the chagrin of the Roman senate. When John Dall's appointment as garrison to Rome fails to subdue the rebellion, Laughton's democratic grip is over-awed by Olivier's potency as a charismatic warlord and purveyor of the romantic ideal of Rome. But the canny Laughton still has one last master stroke to play.
The intense rivalry between Olivier and Laughton's characters is perhaps the most intriguing aspect of this film. Watching the titans trade barbs and try to out manoeuvre the other as they position to instill their ideology for Rome in my opinion dwarfs Douglas' title role, relegating it to that of virtual bystander. Jean Simmons is radiant as Spartacus' wife and later, Olivier's bargaining chip, while the supporting cast including Ustinov, Curtis, Ireland and Dall, all execute well (sans John Gavin, wooden as Julius Caesar). Special mention to Woody Strode in a silent but expressive role as a gladiator against whom Douglas must fight to the death. His dignified presence and integrity are character defining of both Olivier's psychopathy and Douglas' pacifism.
Sharp and sometimes poetic script by Dalton Trumbo, colourful sets, costumes and location work complement the aforementioned acting credentials resulting in a truly grand spectacle that even at three hours remains compelling. The quirky sexual undertones aren't especially subtle (don't miss Olivier's "I like oysters and snails" metaphor to Curtis, who promptly high tails it to the rebellion); Nina Foch & Joanna Barnes' apparent interracial fantasies for Woody Strode and Laughton's own chubby-chasing fetish nods to the decadence of ancient Rome, but also adds the unique Kubrick watermark, a signature of his distinct, eccentric style. Worthy of its reputation.