Where Splendour Exists within Human Spirit

Rating: 9/10 (20 February 2011)

Antiguity with its might and power, its mysteries and monuments that have survived for centuries...yes, they all make us believe in human possibilities, human skills. However, we often tend to skip the fact that it was not the splendor nor the power that made nations truly 'civilized' but the timeless spirit of dignity and freedom...
In the history of great Hollywood productions, 1960 occurred to be a crucial moment for films, in particular epics set in the ancient times. The period of Cecil B DeMille's lavish spectacles was practically over; yet, the new challenges appeared: What historical figures will turn out to be appealing to the most 'up-to-date' needs of cinema buffs. There was a dilemma what hero to select. The choice went onto making a movie about Spartacus, the leader of slaves revolt during the Roman Republic. After David Lean had turned down the offer to direct the movie and veteran Anthony Mann had been fired, a young director Stanley Kubrick took up the task with the cooperation of Dalton Trumbo (the latter one, thanks to Kirk Douglas' help, managed to adapt Fast's novel to screen).
Seemingly, the popularity of the film works like the wide acceptance of Spartacus and his struggle...more convincing with the passing of time. In the long run, people notice more and more merits in the film and, as a matter of fact, SPARTACUS was underrated in 1960 but was fully appreciated a few decades later. What is it if not a work that deserves being referred to as 'ahead of its time'?
The major reason why we can consider SPARTACUS as an extraordinary epic is its extensive development of human psychology, of motives that govern human hearts, of reflections. At multiple levels, we encounter this in the main hero - a slave who is free in spirit, a charismatic soul, almost a dream-like hero ('idealized' to a certain extend). Yet, apart from this 'glorification' we clearly encounter a dream of one man which spreads and becomes the dream of many...what dream? The one about brotherhood against tyranny, courageous NO to slavery and to any humiliation. That aspect is executed in images and plots - the most memorable being, perhaps, the plot of Spartacus and Varinia (Jean Simmons)... his journey from "I am not an animal" to "I love you more than life". The beautifully symbolic scene when Spartacus and Varinia talk about the wind and wonder where the wind comes from occurs to represent this quest for knowing oneself, knowing the other person one loves. What a terrific moment! At the same time, the extraordinary aspect of development is intensified by the notion of justice...that has not been taught to people but the true Justice that is present within any cautious heart. Spartacus believes in Justice, he believes in Freedom and, like Jesus Christ, he ends up on a cross. HOWEVER...while Jesus clearly represents 'Crucified Glory of Love', Spartacus manifests 'Crucified Dream of Freedom.'
The great merit of SPARTACUS, therefore, does not lie in spectacle or thrill but in the sophisticated glimpse of many characters. Apart from the main hero, we get the insight into slaves and free Patricians, the poor and the rich. Jean Simmons as Varinia - a woman who finds the love of her life; Tony Curtus as Antoninus - a young boy, a poet, a dreamer who lives his ideals...slaves that deserve to be free---the quintessential characters of the film's message. The wealthy Roman characters naturally appear in opposition to the film's spirit. Here comes Laurence Olivier as Crassus, an ambitious, powerful man of Rome, someone who cannot stand any 'no' meant to subvert the established ORDER. His patriotism equals with superiority of one group. He believes that "Rome is an eternal thought in the mind of God." He is, at the same time, a bi-sexual character attracted by Antoninus. Just before the boy runs away, there is a famous scene when the two share a bath together: "I like both oysters and snails." Besides, there is the Best Supporting Actor Winner - Peter Ustinov - as Batiatus, the corpulent lanista at the gladiatorial school of Capua, a decent man who rather finds understanding in the warm house of a corpulent womanizer, senator Gracchus (Charles Laughton) than at the luxurious mansion of proud Crassus. Patrician women are portrayed memorably, yet a bit sarcastically, by Nina Foch as Helena Glabrus and Joanna Barnes as Claudia. They are hungry to see muscled men fighting to death. They depict decadence being clearly aroused lustfully by selecting the half naked bodies of gladiators.
Another merit is the sophisticated music composed by Alex North. In its uniqueness and meaning, it is comparable to the music by Miklos Rozsa in QUO VADIS? Having extensively researched the historical background and some information on ancient rhythms, Mr North collected the instruments of the time, like lute, mandolin, kythara, dulcimer, and bagpipes and, consequently, created a dramatic effect. The most memorable theme is Spartacus-Varinia love theme.
The symbolic moments and visuals lead us to the world of that period and touch viewers. We see the unforgettable images of parents burying their beloved child, nostalgia in the eyes of old people, tears of brotherhood in mutual struggle and horses escaping the horror of war. Except for some historical errors (e.g. the fact of Roman garrisons) the film can boast of a very realistic depiction of the battlefield, the nicely reconstructed every-day life in Rome, including saunas, gladiatorial school and wardrobe. That all makes SPARTACUS nearly a masterpiece.
There are many Roman epics but only few can stand alone, as unique and significant ones. SPARTACUS, with the splendor rooted in human spirit, is surely one of them.
"...as long as we live, we must remain true to ourselves," whispers the voice of freedom. Yet, there is another voice, the voice of tyranny which shouts loudly enough to tread its way of destruction: "CRUCIFY THEM ALL!" The whispering voice, however, lives on...