Empire: The Battle of Mutina

Tags

Ancient Rome, Battle of Mutina, Empire, Mark Antony, Military Stuff, Movies I Hate, Octavian/Augustus, Roman Republic, Santiago Cabrera, Vincent Regan

I hate Empire with a surprising passion. I want nothing better than to forget the 6 hours I spent watching it, but somehow I just can’t seem to stop writing about this turd, sort of the way I couldn’t stop picking at a wart that I once had on my right hand, even though picking at it hurt in a bad way. The worst thing ever filmed about ancient Rome culminates in the Battle of Mutina, a very odd choice, but no odder than the other shit that gets dropped into this film.

 

The Battle of Mutina

Historically, the Battle of Mutina was a fairly minor conflict, usually barely even mentioned in modern histories of the Late Republic. In 43 BC, the negotiations between the Senate and Mark Antony broke down. Antony insisted on being given a 5-year governorship in Gaul, the way Caesar had before him. Gaul was close enough that Antony could swoop down into Italy if he disliked what was happening in Rome. But the post had already been given to Decimus Junius Brutus, one of Caesar’s assassins. So Antony laid siege to Decimus in Mutina (modern Modena). The two consuls, Pansa and Hirtius, and Octavian all hurried north with forces to break the siege. Antony’s army ran into Pansa’s forces and routed them, mortally wounding Pansa in the process, but then retreated as Hirtius’ troops showed up.

The two sides clashed again somewhere outside Mutina. The battle doesn’t seem to be well-enough documented to enable a full reconstruction of it, but it went poorly for Antony. Hirtius’ forces were able to attack Antony’s camp, but Hirtius was killed in the assault. Octavian performed well in the battle; when the standard-bearer was killed, Octavian took it up and carried it for an extended period. After the battle, the Republic was now without consuls. Decimus tried to take control of the troops, but Octavian refused to surrender control over them. So Decimus tried to flee to Macedonia where Brutus and Cassius were gathering troops, but he was caught and executed. Mutina helped establish Octavian as a major leader, despite being only 19, and created the conditions that forced Antony to make common cause with him against the Liberators. But it wasn’t the end of the struggle between Antony and Octavian by a long shot, since Octavian only finally defeated Antony at Actium in 31 BC, 12 years later.

 

Empire’s Version of Mutina

I was saddened to discover that instead of shelling out a couple of bucks for the DVD of this wretched miniseries, I could have just watched it on Youtube. But it does mean that you can have the pleasure of watching this shitty battle scene for yourself.

The set-up for the battle is all wrong. Pansa and Hirtius are nowhere around, having already been executed by Mark Antony (Vincent Regan), and poor Decimus isn’t even a character in the story. Instead, Antony has become a vicious tyrant in Rome and Octavius (Santiago Cabrera) has run off to Gaul and found Julius Caesar’s legendary 3rd Legion sitting around in Gaul for the past two decades. He’s persuaded them to fight. But they’re (of course) badly outnumbered; they’re just the remnant of the 3rd Legion and 20 years older than before, while Antony has six legions. (But don’t worry; being outnumbered never has any impact on the battle whatsoever.) Antony is accompanied by General Rapax (Graham McTavish) and Tyrannus (Jonathan Cake), while Octavius has Marcus Agrippa (Chris Egan) with him. None of that makes any sense whatsoever, but you shouldn’t be surprised by that at this point.

The clip opens with Antony and Rapax on horseback. Rapax is so bad a bad guy that they’ve given him black armor, while Antony is proving he’s a bad guy by ordering Rapax to kill people during a battle. Antony’s armor has at least a vague resemblance to what actual Roman soldiers wore in this period (although he’s not wearing a helmet), while Rapax’s armor is just silly. But it’s positively museum-grade compared to the nonsense that Octavius and his forces are wearing, which is just a mishmash of generic crap armor.

I couldn’t find any pics from the Battle of Mutina, so here’s how a much better show dressed their Roman soldiers

The battle takes place in a forest. While we don’t really know much about the topography of the real battle, it’s pretty damn unlikely it was fought in a forest, because forests are lousy places to fight pitched battles. The trees and uneven terrain make keeping a solid formation nearly impossible, and loss of formation was typically deadly to Roman troops. Since both sides are Roman soldiers, they ought to be drawn up in very tight ranks, shoulder to shoulder, with multiple ranks standing behind the front line. The men on both sides ought to be carrying scuti, curved rectangular shields that cover much of the body, and gladii, short swords. Some of Antony’s troops are equipped roughly the way they ought to be, but are not in proper formation. Octavius’ troops, however, are just milling around in disorganized clumps, and are carrying anachronistic small round shields.

Antony’s forces come running through the trees in a disorganized mess, some of them on horseback. In this period, cavalry was usually kept on the wings of the army, used to make flanking attacks and to prevent the opponent from maneuvering on the field. Octavian responds by ordering his men to do an all-out charge (when in reality Roman advances were done at a slow run so as not to lose formation). Octavius’ archers then begin firing into the melee, presumably killing and wounding men on both sides. So we’ve established that no one involved in the production of this miniseries knew a damn thing about Roman warfare, or in fact warfare at all.

The battle is depicted as having no formation or structure at all, with individual pairs of combatants scattered around the battlefield, and troops from both sides coming in from both sides of the screen. After killing someone, the surviving combatant then looks around for another person to attack. So each man is fighting without any support from his fellow soldiers, and can easily be attacked from behind. Antony fights from horseback with a gladius, a really dumb thing to do, because on horseback a gladius isn’t long enough to reach foot soldiers. None of the principle characters wear helmets, obviously because the viewer has to be able to identify them. Normally I can accept that convention, but here, surrounded by so much egregious stupidity, it just looks moronic.

Vincent Regan makes a habit of appearing in things I violently dislike

 

Then at the 1:47 mark, Agrippa tells Octavius “they’re rolling over us.” Octavius’ response is to shout “hold the line!” This is stupid for two reasons. 1) It amounts to shouting “fight harder!”, which probably isn’t helpful battlefield advice to beleaguered troops, who are probably fighting as hard as they can not to die. 2) More importantly, THERE ISN’T A LINE TO HOLD, YOU IDIOT! YOU SENT THEM INTO BATTLE WITH NO FORMATION! ‘Hold the line’ means ‘keep in formation.’

Then Tyrannus, using his patented Badass Two-Gladius Fighting technique kills someone who says “Hail, Caesar,” like that means something, and Tyrannus realizes he’s fighting on the wrong side and decides to start killing Antony’s men, and his soldiers decide to switch sides too, becauase they’re none too keen to be fighting under a general named Rapax, I guess, because when you work for someone whose name is the ancient equivalent of Johnny McPsychopathicKiller, you probably start of suspect he’s a bad guy and you might be on the wrong side.

Rapax is just about to kill Agrippa when Tyrannus distracts Rapax by throwing one of his swords at him. In general, while throwing swords looks cool in movies, disarming yourself is a really dumb thing to do when you’re surrounded by guys who want to kill you. Then Tyrannus says “we who are about to die, salute you,” as he kills Rapax, because that sounds really cool and sort of clever if you don’t bother to think about it at all.

Then Antony meets Octavius and they fight. Despite the fact that Antony is obviously a much better fighter than Octavius, Octavius disarms him and forces him to surrender, but chooses to be merciful and not kill Antony. Historically, it’s correct that Antony survived the battle, because, as I explained last time, the two of them created an alliance and ruled the Empire jointly for several years before having their final falling out and fighting and Octavian winning and Antony committing suicide. But the miniseries presents Mutina as the end of the whole conflict, and suggests that Octavian became ‘Caesar’, by which it means emperor, in 44 BC, rather than in 31 BC. So not killing the deranged guy who’s gone on a murder spree looks pretty dimwitted because what’s to stop him from throwing more orgies and trying to kill you with asps again? Still, the thought that they might have tried to cover the next 12 years of history and add a couple extra hours to this shitstain of a miniseries makes me glad that everyone involved just threw up their hands and called it quits after Mutina.

I feel like a need an exorcism to get this thing out of my head.

This Klingon Beauty Queen is much more authentic than anything in this miniseries

This set of reviews was paid for by Victor, who viciously  generously donated to my Paypal account and asked me to review Empire. So, umm, thanks, Victor. I think. If you want me to review a movie or show, please make a donation to my account and tell me what you’d like me to review, but please, make it something a little better than Empire, because I don’t know if I can handle another one like that. Assuming I can get access to the film or series, I’ll do a review.

 

 

Empire: What the Hell is Going On?

Tags

ABC, Ancient Rome, Empire, Julius Caesar, Mark Antony, Movies I Hate, Octavian/Augustus, Roman Republic, Santiago Cabrera, Vincent Regan

Watching Empire has made me reflect on all the poor life choices that brought me to this moment. If I had decided to study accounting rather than history, I doubt that I would have hit such a bottom watching this wretched ABC mini-series. Still, history only moves in one direction, so I guess I have no choice but to keep going with my review.

The biggest problem with this mini-series is the plot, which lurches around like a bus whose driver is having a seizure, taking out pedestrians, street signs and the occasional parked car before careening off a cliff and exploding in a huge burst of suckage. But in order to explain what is wrong, we need to take a fairly long detour into the actual past.

 

The Late Republic

By the 2nd century BC, the Roman economy was undergoing significant change, as large numbers of slaves flooded into Italy as a result of Roman victories during the Punic Wars and its slow expansion around the Mediterranean. These slaves forced the value of labor sharply downward and helped force large numbers of citizen farmers off their farms. These displaced farmers tended to do one of two things. Many entered the Roman military, an honorable activity that helped further the expansion of the Empire, which increased the numbers of slaves and perpetuated the forces that were forcing farmers off their land. After a successful military campaign, these men hoped to receive a grant of land in the conquered region, enabling them to return to the ranks of the farmers. But that required someone to enact a specific law granting those soldiers land, and the most logical person to press for that was their general, who used his successful conquest as a stepping stone to high political office. As a result, the military became deeply politicized, with the soldiers viewing their general, rather than the Roman state as a whole, as the natural focus of their loyalty.

The other thing those displaced farmers tended to do was migrate to the cities, especially Rome, in search of employment. But because the growth of slavery had forced down the value of work, most fell into severe poverty, and so Rome developed large slums. Although these men were poor, they could do two things. They could riot, thereby destabilizing Roman politics in unpredictable ways, and they could vote.

These changes caused the development of two new political factions (too loosely-structured to be political parties). One faction, the Optimates or ‘best men’, were traditionalists who appealed to those who were uneasy with the changes taking place. They championed the traditional center of Roman government, the Senate and the consuls, and targeted their political appeal at the aristocratic elites. The other faction, the Populares or ‘men of the people’, were aristocrats who sought political support among the large crowd urban poor, who had emerged as a new factor in Roman politics. They championed the Tribunate, essentially a second parallel branch of Roman government that possessed many (though not all) of the powers of the consuls and who were traditionally much more responsive to the will of the general population. They promised various reforms designed to please the crowd, such as redistribution of land, the distribution of subsidized grain (perhaps the first welfare measure in Western history), and free entertainment in the form of gladiatorial games and other sports. While the Optimates emphasized tradition and the Populares invokes the rights of the people, both groups  were essentially ambitious politicians seeking to advance their own power.

Starting in 133 BC, the conflict between these two factions gradually tore the Republican system to shreds. Over the course of the next century, civil war became a regular problem, as ambitious generals used their armies to pursue political victory through military conflict. Assassinations, conspiracies, judicial murders and political purges, and the wholesale violation of the legal framework for politics left Rome at the mercy of whichever faction could achieve temporary dominance.

Finally, in 48 BC, Julius Caesar, the leading Popularis of his generation, defeated the last great leader of the Optimates, Pompey the Great. This left him the unchallenged politician at Rome, and he immediately set about establish political dominance. The Senate was forced to declare him Dictator in Perpetuity, essentially giving him a higher political power than anyone else, using an office that was supposed to be used only in times of crisis and which theoretically had a term limit of 6 months. Normally, the Senate would debate an issue and then give the consuls a recommendation for the consul to issue a law. But Caesar would announce an issue to the Senate, skip the debate, and just issue laws. He repeatedly made clear that he felt no respect for the Senate, and his actions, including accepting deification, strongly suggested that he intended to overthrow the Republican system entirely and establish a new monarchy.

A coin of Julius Caesar

Many of the last remaining Optimates joined with some of Caesar’s closest friends who were troubled by the direction he was taken, and formed a conspiracy to murder him. This group was led by Gaius Cassius Longinus, Decimus Junius Brutus, and his more famous relative, Marcus Junius Brutus (the guy everyone refers to as ‘Brutus’; I’ll call the less-famous one Decimus). These men considered Caesar to be a tyrant who was oppressing Rome and therefore called themselves the Liberators, determined to restore freedom to Rome.

On March 15, 44 BC, a group of about 40 men stabbed Caesar to death in the Senate house. They were in such a frenzy that several of them wounded each other in the process. The rest of the Senate fled in panic, and Brutus marched to the Capitol, declaring that he had liberated Rome. But he and the other Liberators, who had expected to receive a hero’s welcome, were shocked by the hostile reception. As aristocrats who feared being closed out of political power, they had failed to realize just how popular Caesar was with the Roman crowd. As rumors began to spread about what had happened, many Romans barricaded themselves in their houses.

Marcus Antonius, Caesar’s right-hand man, had been slowly drifting away from Caesar for a while, but seized on this opportunity to grab at the reins of power. He negotiated with the Senate and conceded an amnesty to Caesar’s killers, but at the price of their legitimizing all of Caesar’s decrees and appointments. As the crowd became angry, the Senate fearfully voted to declare Caesar a god in an effort to appease them. Brutus gave a speech denouncing Caesar as a tyrant, and for a moment, it seemed that the crowd might be mollified.

Marcus Junius Brutus

But then Caesar’s will was read out. It did three things. 1) It named his grand-nephew Octavius as the heir to his vast fortune and adopted him. 2) It named Decimus as the alternative heir if Octavius was dead. 3) It granted every male citizen in Rome a modest cash gift. (The fact that Caesar could afford to do that and still leave his heir the richest man in Rome demonstrates just how staggeringly rich he was.) These three points all mattered. The first point made it clear that Antonius was not the unchallengable successor to Caesar’s position. The second point made Decimus’ participation in Caesar’s death an impious patricide. The third point reminded the crowd of Caesar’s past gestures to them, which tipped the balance against Brutus’ denunciation of Caesar.

Violence erupted. The Senate house was burned and an unfortunate tribune, mistaken for one of the Liberators, was torn to pieces in the streets. The Liberators fled Rome and Cassius and Brutus seized control of the Eastern Mediterranean portions of the Empire, raising legions for what became a renewed civil war, the Liberators’ War.

Back in Rome, Antonius made common cause with Octavian and Caesar’s cavalry general, Marcus Aemilius Lepidus, forming the Second Triumvirate, to which the Senate cravenly turned over complete control of the government. Antony married Octavian’s sister, Octavia. To secure control of Italy, they enacted a brutal purge, the most notable victim of which was the great orator Cicero, Antonius’ personal enemy, whose head and hands were cut off and displayed publicly in Rome.

In 42 BC, the two sides clashed at Philippi in Greece, in two battles about three weeks apart. The Triumvirs won both battles; after the first Cassius committed suicide and after the second, Brutus did so as well. This battle is essentially the end of the Optimates as a group with any meaningful power in Rome.

A coin issued by Cassius, celebrating Liberty

As a result of their victory, the Triumvirs divided the Empire into thirds and ruled as dictators. In 36 BC, Lepidus and Octavian quarreled, Octavian got the upper hand, and forced Lepidus into domestic exile. Meanwhile, Antony had taken up with Caesar’s ex-girlfriend Cleopatra. He repudiated his marriage to Octavia and married Cleopatra, which triggered the final falling out with Octavian and the last civil war of the Republican period. In 31 BC, Octavian’s forces defeated Antony and Cleopatra at Actium and they both committed suicide, leaving Octavian the undisputed master of the Roman world.

Meanwhile, in Bizarro Land

In theory, this is the story Empire is telling, but any resemblance to historical facts is entirely coincidental. At the start of the series, Caesar (Colm Feore) is the dominant man in Rome, but there’s no mention of the civil war with Pompey or the fact that he’s a perpetual dictator who just runs roughshod over everyone else. The Optimates/Populares rift is reduced to ‘everyone likes Caesar except the Senate.’ which is mostly just Cassius (Michael Maloney) and Brutus (James Frain). Caesar has some sort of formal position, but he’s not a dictator, and it’s not clear what his position is, except that his title is apparently ‘Caesar’ (which is at least a half-century too early for it to function as a title instead of just a family name).

Brutus and Cassius assassinate Caesar in order to restore the Republic from Caesar’s domination, but the show bizarrely presents this as a terrible thing, because Caesar loves the people and isn’t doing anything for himself and instead is doing everything for the people. Early in the first episode, Cassius sniffs that Caesar wants to make himself a king and a god, but it’s already clear that Cassius is an envious jerk, so the show explicitly positions the Republic as a bad thing that apparently involves the Senate running things, while the dictator Caesar is positioned as the defender of democracy.

Caesar’s life and death have been read for centuries as a cautionary tale. Shakespeare’s Julius Caesar can be read as a warning against overweening ambition, while ever since the American and French Revolution, his story has been seen as a warning about how Republics succumb to tyranny. So the miniseries’ treatment of the material is startling in the nakedness of its anti-democratic stance.

Once you get beyond that, you realize that the show has no idea how Roman government actually worked. The Senate seems to be in charge, but never actually does anything, and I suspect the show thinks that people got elected directly to the Senate, rather than entering the Senate for life after being elected to almost any other public office; Caesar at one point comments that he “used to be in the Senate.” There are two consuls appointed after Caesar’s murder, Hirtius and Panza (which is actually historically correct), but they barely have any dialog and are only seen again toward the end of the series when Mark Antony (Vincent Regan) executes them for no apparent reason except to be evil. The Vestal ‘Order’ (‘college’ would be a more appropriate term) is described as having great political power but being studiously neutral until Camane (a horribly wasted Emily Blunt) decides to use their resources to duplicate Caesar’s will so everyone will know that  Octavius (Santiago Cabrera) is the rightful successor. The Senate has no soldiers of its own and has to make due by hiring gladiators, while various senators seem to own their legions.

You don’t pin a toga, you idiot!

Despite not having any troops, and despite everyone in the city hating them after Caesar’s murder, Brutus and Cassius somehow are in complete control of the city, enough so that Octavius, Tyrranus (Jonathan Cake), and Mark Antony have to flee Rome in danger of their lives and ride around trying unsuccessfully to find military allies. But later, Antony has enough soldiers to be back in the city bargaining with the Senate. He and Octavius sign a document making each other their heirs, and then he massacres all his guests at an orgy by dropping asps and wolves on them. And because of Octavius is out of the way, Mark Antony gets to be…Caesar? Something like that.

With Octavius seemingly gone from the scene, Mark Antony wastes no time in going insane and taking power. He exiles Brutus and Cassius from the city as a way to prevent Brutus from committing suicide and becoming “a martyr for Rome”. Leaving aside the fact that martyrdom was a Christian concept and there won’t be any Christians in Rome for more than half a century, exiling someone to stop them from committing suicide makes no sense whatever. Cassius comments, “we should be in Syria raising an army.” Yes, Cassius, you should be, because that’s what you actually did. But after that Brutus and Cassius mostly just disappear from the series. Not only does it make no sense logically or historically, but also it’s feeble scriptwriting to set up Brutus and Cassius as major villains and then simply hand-wave them away so the plot can focus on the struggle between Octavius and Antony. There’s no Liberators’ War or battle of Philippi, just the plot forgetting about them.

Antony and Octavian in front of bust of Caesar that looks nothing like Colm Feore

Octavius survives the poisoning because Camane does a blood-letting on his jugular vein with the help of Marcus Agrippa (Chris Egan). Normally it’s done at the wrist, Camane. Meanwhile Antony has inexplicably made Tyrannus a centurion in his army, where Tyrannus immediately starts pissing off General Rapax (Graham McTavish) by trying to be nice to the soldiers. And for no reason, Antony doesn’t have Cicero killed.

Octavian reads a story of Caesar’s ‘legendary’ 3rd Legion that was lost at the Battle of Bibracte in Gaul. He rides off to Gaul and stumbles into The Eagle of the Ninth, learning that the lost legion has somehow just been living in Gaul for the past decade without anyone noticing. So he persuades the remnants of the 3rd Legion to fight for him by letting them carve a trident into his shoulder-blade and then leads them against Antony at the Battle of Mutina, at which Tyrannus decides to switch sides and helps save the day and Octavius defeats Antony and inexplicably grants him his life, which somehow causes him the win the day and resolve the whole conflict, and then rainbows and unicorns fly out of his ass and everyone lives happily every after, because the Republic is going to get overthrown after all and Octavius gets to be the new dictator and take away everyone’s politial rights.

God I hate this miniseries.

 

Want to Know More? 

If after all this, you inexplicably want to see this steaming pile of crap, you can find Empire on Amazon.

There are lots of biographies of Augustus. The one I have on my shelf is Pat Southern’s Augustus.

Empire: Caesar’s Will

Tags

Ancient Rome, Brutus and Cassius, Emily Blunt, Empire, Jonathan Cake, Julius Caesar, Movies I Hate, Octavian/Augustus, Roman Republic, Santiago Cabrera

Empire  is quite possibly the worst thing I’ve ever watched on ancient Rome. I’ve gotten freshman term papers on ancient Rome that were way more interested in the facts than this piece of crap is. But I’m getting paid to review it, so I need to do another post on it. Please bear with me.

The plot of the series turns on the question of who Caesar’s heir will be. At the start of the series, Caesar (Colm Fiore) is correctly positioned as the dominant man in Rome, although it’s not explained how or why he got there, except that the crowds of Rome love him. Early on, Brutus (James Frain) and Cassius (Michael Maloney) comment that Caesar wants to be both king and god, statements that are fairly accurate for 44 BC. When Caesar is assassinated in the Senate chamber, he tells Tyrannus (Jonathan Cake) that his heir is going to be Octavius (Santiago Cabrera), not Mark Antony (Vincent Regan). This comes as a surprise to everyone, including Octavius, who was under the impression that Caesar despised him. Brutus and Cassius are desperately trying to get Caesar’s will so they can quash this, while Cicero (Michael Byrne) and Camane (an utterly wasted Emily Blunt) are doing everything they can to disseminate the will so that everyone in Rome will know the truth, so that the Senate will have to…make Octavius king maybe? Something like that. I’m not sure the series knows, but who cares? It’s only the main plot of the whole goddam thing.

The reality is, surprise surprise, different. Julius Caesar had no surviving children, despite three marriages, but his sister Julia did have a grandson, Octavius, who was the logical person to make his heir. So late in 45, Caesar wrote a will that adopted Octavius and bequeathing him about 75% of Caesar’s considerable fortune. The will would have been given to the Vestal Virgins, who were responsible for keeping wills, and would not have been publicly announced until after Caesar’s death. It is not known if Caesar told Octavius about the contents of his will, but it seems to me highly unlikely that the will would have been a surprise to Octavius; he was the obvious choice of heir being Caesar’s closest male relative, he was a canny and astute politician (as his entire political career demonstrated) who must have known what his position in Roman society was, and Caesar was smart enough to have recognized that he would have to groom Octavius as his successor (although he certainly didn’t foresee getting murdered just a half-year after making his will). Additionally, as soon as news of the assassination reached Octavius, who was in Apollonia on the west coast of Macedonia at the time, he immediately began to act like Caesar’s heir, ordering that Caesar’s war-chest be sent to him in Apollonia. If he was unaware of his status as heir, it’s improbable that he would have done this.

However, the series’ assumption that Octavius found his designation as heir a surprise is not an entirely outrageous one, because we have no formal evidence that he was told about it before Caesar’s murder. So I’ll reluctantly give the series a pass on this one.

(A short aside about names is necessary here. When he was born, he was given the name Gaius Octavius, since his father was from the Octavian gens. Upon his adoption, he legally became Gaius Julius Caesar Octavianus, the ‘an’ element signifying that he had been adopted out of the Octavian gens. After he achieved complete domination of the Roman political world in 27 BC, he was given the agnomen Augustus, which he consistently used down to the end of his life. There is no evidence that he ever actually styled himself Octavianus (although some of his opponents did). He preferred to refer to himself as Caesar and later Augustus Caesar, using the formal ‘Imperator Caesar Divi Filius Augustus’. However the universal modern historical convention is to call him Octavian (the anglicization of his name) for the period between 44 and 27 BC and then Augustus thereafter. Since his adoption was posthumous, the series is technically correct to call him Octavius, even though pretty much no one today ever uses his birth name unless they’re being super-precise.)

Octavian, being posthumously appalled by this series

 

According to Roman law, a posthumous adoption only applied to inheritance of property. Caesar had no legal way to pass on any of his formal political power or office, any more than John Kennedy could have bequeathed his presidency to one of his children, since in the Republic, all political offices were subject to public election and were not personal property. So what Octavian was technically inheriting was his adoptive father’s wealth and his name (since posthumous adoption typically required the adoptee to accept the adopter’s name). Informally, Octavian was inheriting the enormous goodwill the Roman crowd had for Caesar as well as the prestige of now belonging to perhaps the oldest and most glorious of all Roman gens. Since the anger of the crowd pushed the Senate to immediately declare the dead Caesar a god (something that Caesar seems to have been angling for already in the last year of his life), Octavian also acquired the huge and unprecedented clout of being able to style himself Divi Filius, ‘son of the god [Julius]’. In order to achieve his father’s political power, however, he was going to have use that inherited wealth, prestige, and goodwill to fight his way up to political power, especially because Mark Antony was the clear successor to Caesar’s military authority, since he was essentially Caesar’s lieutenant and an experienced soldier, while Octavian had no military experience to speak of, being only 18.

Whether his adoption surprised him or not, Octavian immediately moved to capitalize on the opportunity the adoption provided. As noted, he took charge of Caesar’s war-chest, sailed to Naples, and traveled north to Rome, collecting political support and a modest army along the way. He demonstrated a solid understanding of Roman politics, contacting key political figures for their support; he decision to land at Naples allowed him to meet up with Cornelius Balbus, one of Caesar’s most important supporters. At no point did he ever betray any sense that he was doing anything other than acting on his full legal rights as Caesar’s heir.

In Empire, however, Octavius is a cloth-headed idiot. When Tyrannus tells him that Caesar has named him his heir, Octavius initially refuses to believe it, and refuses to leave Caesar’s villa outside Rome until his mother warns him that he’s in a butt-load of danger and Tyrannus can protect him. Tyrannus insists on fleeing Rome entirely with no money or guards or anything else. The next morning, however, Octavius wakes up before Tyrannus, and rides back to Rome to see his girlfriend, some skank whose father is a senator but who immediately betrays him to the gladiator/soldiers who are looking for him. He gets chased, Tyrannus rescues him by magically knowing where he is, and Cicero gives them a list of supporters to track down. Then they ride out of Rome again. All of this is a real disservice to Octavian, who ranks among the savviest politicians in the history of the world.

Octavius and Camane, wishing they weren’t in this series

 

Brutus and Cassius, meanwhile, are torturing Octavius’ mother for the will, intimidating Cicero, and threatening the Vestal Virgins. They are having trouble with the crowd, which catches them trying to smuggle Caesar’s corpse out of the city, and seizes the corpse and burns it, which outrages Octavius even though it’s basically the way elite Roman funerals worked. Camane orchestrates a plan to produce dozens of copies of Caesar’s will and nail them up all around the city so everyone will know that Brutus and Cassius are dicks. They respond by lighting Rome on fire, which seems like something of an over-reaction, given that if the city is destroyed, there isn’t much of a Roman state for them to govern. Then they send an assassin after Octavius, but Tyrannus spots him because apparently in ancient Rome only assassins carry gladiator swords that are actually late medieval short-swords.

Then Octavius and Tyrannus run off to visit Senator Magonius (Dennis Haysbert), a black man who has a northern Celtic name at a time when senators were only drawn from Italy. Magonius refuses to give the gladiator/soldiers his legion (despite the fact that legions were only given to sitting or just-stepped down consuls at the authorization of the Senate). So, despite the legion Magonius owns, the gladiator/soldiers decide to make him a slave because in times of political unrest, historical accuracy is always the first casualty.

Brutus and Cassius with some woman who might be Servilla

 

Oh, and evidently because apostrophes haven’t been invented yet, the subtitles telling us where things happen never use apostrophes. So scenes take place at ‘Julius Caesar Villa’ and ‘Vestal Copy Room’.

You can do this, Andrew. You’re getting paid for this.

Want to Know More?

Well, if you insist, you can find Empire on Amazon.

There are lots of biographies of Augustus. The one I have on my shelf is Pat Southern’s Augustus.

Empire: God Help Me

Tags

Ancient Rome, Colm Fiore, Emily Blunt, Empire, Jonathan Cake, Julius Caesar, Movies I Hate, Roman Republic, Santiago Cabrera

My review of I, Claudius inspired one of my readers, Victor, to make a generous Paypal donation and request that I review the 2005 ABC miniseries Empire, which, like I, Claudius, deals with the transition from the Roman Republic to the Roman Empire. So you’re going to get a few more posts on Ancient Rome.

And hoo boy does the first scene promise a strong contrast with I, Claudius. Whereas Robert Graves was at pains to mine the historical sources for the facts, this show promises to mine absolutely nothing except old clichés. The show opens with a gladiatorial combat that works overtime to avoid anything resembling fact. The two fighters, one of whom is named Tyrannus (Jonathan Cake), are equipped with gear that is almost entirely made up; he gets two short swords because that means he’s cool. The scene repeats the nonsense that gladiatorial fights always involve the death of all but one fighter. And then after he defeats his opponent, more gladiators surprise him and he has to fight them to the death too. I’ve already discussed everything wrong with this scene in a review of a different movie. (What makes this even worse is in a later scene, Tyrannus correctly describes how a Thracian gladiator is equipped.)

Then we cut to the ‘Vestal Temple’, where Camane (Emily Blunt), a virgin priestess, is praying in front of what is clearly a statue of naked Aphrodite, which is sort of like having a statue of a porn star in a Catholic convent. But she’s making a sacrifice of flower petals, so I guess that makes everything chaste. Octavius (Santiago Cabrera) asks her if “her gods” ever answer.

The show also doesn’t care about giving its characters real names. ‘Tyrannus’ is apparently his birth name, and his son is named ‘Piso’, which isn’t even a given name (it’s a cognomen). And what the fuck sort of name is Camane? It doesn’t even sound Latin! And instead of ‘Octavian’ (short for Octavianus), the kid’s name is Octavius.

Unsurprisingly, the costuming isn’t very accurate either

Then Julius Caesar (Colm Fiore) asks Tyrannus to be his personal bodyguard, overlooking the fact that he has guys like Mark Antony to protect him, and also overlooking the fact that in 44 BC, Caesar is the dictator, which comes with a staff of 24 lictors, who were also essentially bodyguards.

We’re only 20 minutes into this thing and I already I hate it.

Then Camane milks the ceremonial goats (wtf!) and they give only blood, which means bad things are coming. She has to warn Caesar for some reason, but the Chief Vestal tells her to forget what she’s seen, maybe because she knows there’s no such thing as ceremonial goats.

Then Piso’s mother buys something for “three cents” and it becomes clear that the film isn’t even trying. Piso disappears in the market place, and I see a whole lot of manpain coming for Tyrannus.

The Praetorian Guard exists, even though it won’t be created until there are emperors, since its job is to protect the emperor. Camane warns Caesar, but he declares that he’s lived his whole life in defiance of the gods, so he’s going to ignore the omen. Then he gets into a positively absurd-looking carriage with pillars, a couple centuries before the first thing that might be called a carriage will be invented.

Tyrannus is running around the marketplace looking for Piso, because Caesar, having commissioned him to be his bodyguard, has promptly left Rome without him.

Victor, could you make another generous donation? I think this miniseries qualifies for hazardous duty pay.

Then the Senate gaks Caesar and the assassins who are trying to kill Tyrannus tell him that it was all a distraction, which is really nice of them if you come to think of it, because it means he can run to the Senate house and find Caesar dying, who tells him to protect Octavius. And then Mark Antony (Vincent Regan) shows up and claims Caesar’s crown.

For Colm Fiore, this counts as a mercy killing, because he doesn’t have to keep appearing in this turd

Mark Antony is pissed because the senators asked to shake his hand without washing the blood off theirs first. This turns out to be a faux pas on the Senate’s part, because they don’t have an army and Antony does, so they have to raise an army of gladiators, led by General Rapax (Graham McTavish), who you know has to be a bad guy because his name is Rapax.

The show has by this point forgotten that Tyrannus is a slave because he’s just running around freely, giving Piso’s mother money to sail away from Rome, and so on. Having ridden back to Rome to protect Piso and his mother, Tyrannus then has to fight a dozen soldiers/gladiators so he can get horses to ride away on. This show can’t even keep track of its own material from one moment to the next, much less know anything real about stuff that happened 2,000 years ago.

Oh, god, make this stop, please!

Mercifully, this turns out to be the end of the first episode.

 

Want to Know More? 

No, trust me, you don’t.

Sword of Vengeance: Things I Have Learned

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Medieval England, Movies I Hate, Sword of Vengeance

So I’m in the process of watching Sword of Vengeance (2015, dir. some talentless hack). It’s set in late 11th century England, just after the Norman Conquest of England. I went to grad school for a long time studying medieval Europe, but this film has taught me a lot of things that my formal education somehow managed to miss. I can’t be bothered to figured out the plot of the film. I dunno, I’m guessing it involves vengeance somewhere along the line, based on the title and the protagonist’s constant scowling. So instead, I figure I’d just tell you what this film is teaching me.

1. Northern England has a really tall mountain. I think Peter Jackson filmed the Mt Doom sequence there.
2. The Anglo-Saxons took their landscaping cues from the Blair Witch.
3. Color had not yet been invented in this period.
4. Darkness and fog were extremely common. I think the locals must mine them somewhere nearby, thus making them cheap and plentiful commodities.
5. Normans used names like Durant, Artus and Romain. The Anglo-Saxons were too poor to have names, except during credit sequences.Our hero uses the name Shadow Walker, which I think means he was baptized for St. Shadow Walker, the patron saint of emo.
6. If you pause Netflix long enough, it logs you out.
7. If you try really hard, you can use pottery as a mirror.
8. I’m wrong. They don’t mine fog. They grow it in fields around the castle.
9. “We could rule this land with a dozen men.” Is that some sort of zen koan? I mean, the bad guys have a dozen men at least, and I think they rule. So why say that? Ok, that’s not something I learned. But I think there must be some secret of enlightenment lurking in it. I want to learn it.
10. 11th century Normans knew how to build 13th century castles.
11. The Anglo-Saxons never converted to Christianity. Neither did the Normans, except on paper.
12. A well-made sword can cut through a soundtrack, or at least scratch it.
13. The Anglo-Saxons were way pluckier than the Normans, and better fighters as well. I guess that’s why the Normans defeated them.
14. Everything important happened at night. Except fog-farming. That was a daytime activity.
15. The Normans were the worst villains ever. Literally every scene they appear in, at least one of them dies or gets maimed.
16. You can make a longbow by picking up any old stick and tying a string to both ends.
17. Berserkers were so bad-ass, they had to be kept locked in a wagon until it was time for them to fight. But they were Normans, so they still sucked in combat.
18. Fur was a very popular fashion statement. So popular, nobody actually wore fabric back then. Just fur and leather. And occasionally white face paint.
19. Weird masks and head-dresses were a popular accoutrement for fur and leather, especially if they had horns.
20. Turning your back to someone who’s trying to kill you and then waving your swords behind you is a really cool way to fight. Nothing could possibly go wrong with that.
21. If you’re going to kill your brother with his own knives, don’t leave those knives lying around where his young son can find them, swear vengeance against you, and carry them with him for a decade while he learns to be a kick-ass scowly warrior, even if you sell the kid into slavery. It will end badly for you.
22. The Normans were not smart enough to avoid charging into bonfires.
23. In the 11th century, doing things at regular speed was pretty expensive, so people did as many things in slo-mo as they could, to save money.
24. Stanley Weber got paid a lot of money to play Shadow Walker. How else could they get someone to wear this haircut for an entire movie?

 

Want to Know More?

There isn’t anything more to know about this film.

Beowulf: Shame on You, Neil Gaiman

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Anthony Hopkins, Beowulf, Grendel, Medieval Europe, Medieval Scandinavia, Movies I Hate, Neil Gaiman, Ray Winstone, Robin Wright Penn, Woman as Prize

Beowulf ranks among the greatest works of literature in the English language, and holds pride of place as the first great work of English-language fiction. It is a powerful, profound, and mysterious text that continues to move and fascinate readers more than a thousand years after it was first written down.

Unfortunately, when film-makers try to translate the story to the big screen, this strange old tale thwarts their best efforts to produce a decent story. Beowulf (2007, dir. Robert Zemeckis, screenplay by Neil Gaiman and Roger Avary) is perhaps the worst adaptation of a piece of medieval literature I’ve ever read, and Neil Gaiman, who is normally a great storyteller as Sandman demonstrates, ought to be embarrassed that he wrote it.

The Poem

Beowulf, as many who read it high school or college know, tells the story of the Germanic’s warrior’s three greatest battles. He is a Geat, belonging to a tribe that resided in what is today southern Sweden, a branch of the Gothic people. (Side note: ‘Geat’ is pronounced ‘Yat’ or “Yay-at’, not ‘Geet’.) He travels to Denmark to help the great Danish king Hrothgar. Hrothgar is a successful war leader, but he is outclassed by the horrible troll Grendel, who is harrying the Danes in their great hall, Heorot. Beowulf kills Grendel by ripping off the creature’s arm. But then Grendel’s unnamed mother (whom I’ll just call Mother) continues her son’s feud against the Danes, and Beowulf is forced to track her to under lair in the moor where he eventually kills her.

The geography of Beowulf

After that Beowulf returns home to Sweden and becomes the Geatish king. Fifty years later, a slave steals a cup from the horde of a dragon, who goes on a rampage, killed and destroying the Geats until Beowulf and his warband go to confront the monster. With the exception of the faithful Wiglaf (‘Wee-laf’, not ‘Wig-laf’), the warband chickens out and runs away, leaving Beowulf unsupported in his battle against the dragon. As a result, he kills the dragon but is mortally wounded. The poem ends as it begins, with the funeral of a great king. The Geats lament not only the death of their king but also the cowardice of the warband, because they are now vulnerable to the depredations of their neighbors. One woman predicts the destruction of the Geatish tribe, a prediction that eventually came true in the real world when the Swedes eventually conquered and absorbed the Geats.

While a great poem, Beowulf presents many puzzles to the reader. In a surface reading, the first two fights seem essentially unconnected to the third fight, and scholars have debated how much unity the poem actually has. Indeed, it’s been suggested that the poem as we have it (which survives in a single 11^th century manuscript) may in fact represent the fusion of two unrelated poems. My personal feeling is that two halves of the poem are in fact a unitary whole, tracing as it does a hero from his early triumphs to his disastrous death. There is an underlying theme about the dangerous nature of violence. The poem is riddled with apparent digressions about unrelated acts of violence, but I tend to see these digressions as commenting on the nature of violence and highlighting Beowulf as a hero precisely because he understands when violence should and shouldn’t be resorted to. The cowardice of his men serves as a warning that sometimes violence is necessary, and Beowulf’s successful battle as an elderly ruler counterpoints Hrothgar’s earlier inability to triumph over Grendel. But that’s just one way to understand the poem.

The first page of Beowulf

As a result, the story presents a basic problem for modern audiences. The first two acts don’t connect to the third in any obvious way; there’s no through-line for the plot. Beowulf is a Germanic hero; he lacks the interiority and personal conflict that modern audiences tend to want in their heroes. His conflicts are mostly of a purely physical kind, although he does face social challenges as well, such as when he arrives as an outsider at Heorot and is challenged by the loud-mouthed asshole Unferth. And at a later moment in the poem, he is tempted by Queen Hygd to seize the Geatish throne, but refuses to do so, refusing to take it until King Heardred is killed in battle. (Like I said, he knows when to use violence and when to reject it.) But the moral universe in which he operates is drastically different from modern America, and that makes it harder to get modern audiences engaged with the underlying ideas in the poem.

The Movie

When Gaiman and Avary were trying to figure out how to turn this story into a 3D animated film that uses motion capture technology, they clearly recognized the problem of the disjunction between the first two acts and the third. Unfortunately, their solution to the problem was to tie the third act to the first two in a way that shits all over the heroic qualities of Beowulf and Hrothgar. In order to explain what’s so wrong with their screenplay, I’ll need to summarize the whole film.

The film opens with a feast in the newly-built Heorot. The elderly Hrothgar (Anthony Hopkins) is a fat, drunken slob who has to be carried into the hall and can barely keep his bed sheet wrapped around his otherwise naked body. His beautiful young wife Wealtheow (Robin Wright Penn) is disgusted by him and refuses to sleep with him. The feasting and merriment unsettles Grendel (Crispin Glover), who has very delicate ears, and so he rampages through the hall, killing men while the impotent Hrothgar proves unable to attack him.

Grendel

Eventually Beowulf (Ray Winstone) the ‘Geet’ shows up and promises to fight the monster. He is confronted by Unferth (John Malkovich), who points out that the only thing Beowulf has done of note is lose a swimming contest. Beowulf responds by explaining that he lost the competition because he had to take time to kill nine sea monsters. One of his retainers comments that the last time Beowulf told the story, there were only three monsters. And in the flashback to the event we see that Beowulf is lying; one of the monsters is actually a mermaid, who successfully seduces him, rendering him unable to kill her.

Beowulf clearly has the hots for Wealtheow, because as the feast is winding down, he literally takes off all his clothes while everyone watches. She is appalled by this and flees the room, so he just lies down to relax while his men keep partying. When the fight with Grendel comes, Beowulf rather inexplicably watches the monster kill most of his men before getting into the fight. He manages to trap Grendel’s arm in the door of the hall and smashes it off. As he later retells the story, he just ripped the arm off while wrestling with him.

After Mother comes to slaughter Danes in vengeance, Hrothgar offers Beowulf his greatest treasure, the Dragon Horn, an elaborate drinking cup, which he got when he killed Fafnir, a dragon. (Fafnir is the dragon from a completely different legend, the story of Sigurd the Dragon-Slayer, but whatever.) Beowulf inexplicably takes the horn with him when he tracks Mother back to her lair, and discovers that it glows in the cave (which is actually kind of a nice touch).

Hrothgar giving Beowulf the Dragon Horn

When he meets Mother, she turns out to be Angelina Jolie with golden body-paint, a sexy braid that is also her tail, and built-in stiletto heels. Instead of fighting her, she seduces him with a promise that as long as the cup remains in her lair, nothing will be able to harm Beowulf and he will be a great king. So instead of killing her, he bones her and then goes back to Hrothgar and claims to have killed her. Hrothgar is relieved, declares Beowulf his heir, and then commits suicide by jumping off a tower. By this point it has become clear that years ago Hrothgar did exactly what Beowulf has just done, and that Grendel was actually Hrothgar’s son.

It must be really hard for Mother to shop for shoes

The film jumps forward to years later. King Beowulf of the Danes is married to Wealtheow, who is as disgusted with him as she was with Hrothgar, so he needs to sleep with slave girls instead. He’s disgusted with himself, because he knows he’s not actually a hero but rather just a liar. There’s a hint that perhaps his deal with Mother has made him invulnerable to battle, so that he no longer feels any danger when he fights.

Unferth has inexplicably become a Christian. But his slave steals the Dragon Horn from Mother’s lair. A dragon, who is Beowulf’s kid, goes on a rampage, destroying the local church (which is several centuries too early for a film set in 6^th century Denmark), and sending Beowulf a message that the deal is off. Beowulf returns the horn to Mother, but she refuses to accept it, and releases the dragon again. The dragon rampages, destroying the town and much of Beowulf’s castle. He eventually realizes that the dragon has a soft spot at the base of its throat, but for reasons I won’t go into, he has to partly sever his right arm in order to reach into the soft spot and rip out the dragon’s heart (I guess because he tore off Grendel’s right arm). They both plunge to the surf, where the dragon transforms into Beowulf’s son, and they both die.

The fight with the dragon is pretty much the best part of the film

Wiglaf (Brendan Gleeson) becomes king and Beowulf is given a Viking ship funeral. Right after that, Wiglaf finds the Dragon Horn in the surf. Mother appears to kiss Beowulf’s corpse, and then beckons Wiglaf to come to her, implicitly offering to repeat the cycle again. Wiglaf stares back at her, and the film cuts to black, leaving it unclear how he responds.

My Analysis

Words cannot express just how much I hate this mangling of the story of the poem. It’s only with great force of will that I am going to refrain from swearing as I dissect it.

The central problem is that instead of presenting Hrothgar and Beowulf as great heroes, which is exactly who they are in the poem, the film offers us two decidedly unheroic liars. Both men achieve their worldly success not by killing monsters but by having sex with Mother and then lying about it. It’s clear that both men are glory hounds who are more than willing to exaggerate their great accomplishments. They are both fundamentally weak men incapable of keeping their pants on when presented with the opportunity for hot monster sex. Their glory is purchased with the future slaughter of their own men because their pretended triumphs lay the foundations for the future crisis that will ruin them and wreak havoc on their people.

Heorot at the start of the film

Whether Hrothgar was ever a great man is entirely unknowable, because we don’t get enough evidence to tell whether anything in his version of events is true. Beowulf shows signs of being a potentially great man; he does basically kill Grendel nearly single-handedly, albeit not the way he later claims. Whether he actually kills any sea monsters is left uncertain; he’s clearly an unreliable narrator and it’s entirely possible that he lost the swimming contest because he decided to get busy with a mermaid and then made up the sea monsters to explain his failure. But in his fight with Grendel he literally just watches Grendel butcher his warband until it’s pretty much only Wiglaf left. So in contrast to the poem, which emphasizes the mutual obligations between war leader and warband by showing the failure of the warband in the battle with the dragon, it’s Beowulf who fails his men.

It’s only at the end of the film that Beowulf gets truly heroic by confronting the dragon and severing his own arm in order to kill the dragon, well aware that he will die when the dragon he’s clinging to falls from the sky. It’s a heroic moment, but sharply undercut by the fact that the whole disaster is his own fault.

Instead of being a film about heroic men doing great deeds, this Beowulf is a story about lying faux-heroes discovering that glory is ultimately hollow and emasculating. Hrothgar’s response to this discovery is to drink himself into a stupor and eventually kill himself, whereas Beowulf manages to rise above himself and finally do the right thing. In other words, the film is about the falseness of heroism far more than its possibility. All heroic inspiration is a falsehood rooted in boasting and deceit. And Wiglaf’s final comment, “He was the bravest of us. He was the prince of all warriors. His name will live forever” reads more as an ironic commentary on the impossibility of true heroism. If the greatest of all heroes is basically a liar and braggart who barely deserves his acclaim, what possibility of heroism is left to the rest of us lesser men?

Seeing the film in the theater in 2007, I was struck by how much the film read as a critique of contemporary American politics, with political leaders whose “Missions Accomplished” are little more than hollow boasts covering up miserable failures that got lots of good people killed. But maybe that was just the mood I was in at the time.

 

And Then There’s the Women

The film has three female characters, Wealtheow, Mother, and Ursula, Beowulf’s concubine (who’s mostly there to demonstrate the failure of Beowulf and Wealtheow’s marriage). Wealtheow is on the surface a strong women, refusing to sleep with either of her husbands because she is disgusted that they both slept with Mother. But she’s like a day-old sink full of dirty dishes and brackish water; the moment you poke the surface, you’re assaulted by the nasty stench underneath.

Wealtheow

It’s hard to see her disgust as anything other than sexual jealousy. She’s angry that her husbands both slept with a woman who is incomparably more beautiful than she is. And her disgust appears to be the reason that both her husbands are emotionally broken men. She has driven Hrothgar to drink and left Beowulf bitter with his life. It is her failure to adore her husbands that forces them to see the hollowness of their victories, because neither man understands the long-term consequences of sleeping with Mother until long after they’re broken men. So basically, if Wealtheow wasn’t such a jealous shrew, these men would have been happy and able to enjoy their false victories. She is the cause of most of their man-pain.

What makes this worse is that she’s also the Woman as the Prize. Hrothgar literally gives her to Beowulf when he declares Beowulf his heir. So Beowulf’s reward for apparently defeating Mother is a kingdom and a beautiful young wife. But that beautiful prize turns out to be a viper that gradually poisons him by refusing to have sex with him. The film treats this as entirely natural, and is completely oblivious to the fact that Wealtheow clearly has no attraction to Beowulf. She’s his prize and ought to put out for him, and her persistent refusal to do so is part of his ruin.

She’s also incapable of saving herself. When Grendel menaces her, she is saved by Hrothgar distracting Grendel, and when the dragon attacks and she is about to fall off the castle’s bridge to her death (because Ursula isn’t strong enough to pull her up), it’s Wiglaf who saves her. And, inexplicably, the older Wealtheow has grey hair but no wrinkles; her skin seems as dewy fresh as it does at the start of the film. So she’s literally four of the worst cinematic tropes about women rolled into one. She has no agency and exists purely to drive home the plot lessons for her husbands.

And Mother is even worse. She’s an eternally young and hot sex kitten, who never bothers putting clothes on. She is literally the cause of all the evil in the film. She is the mother of Fafnir, the dragon that Hrothgar confronted; the mother of Grendel; and the mother of the unnamed second dragon who is Beowulf’s son. Presumably she seduced Fafnir’s father the way she seduces Hrothgar and Beowulf, and the film ends with the very real possibility that she will seduce Wiglaf and repeat the cycle. (In fact, I think the film makes it likely that she does seduce him; Wiglaf has just declared that Beowulf is a far greater man than he is, so if Beowulf has fallen to Mother’s temptations, it is likely that Wiglaf will give in as well. He’s a helper, not a hero in his own right, even by this film’s tawdry standards. And his reception of the Dragon Horn just a moment before acts as a symbol of his impending seduction, since both Mother and the Horn are passed on from Hrothgar to Beowulf and now apparently from Beowulf to Wiglaf.) So the locus of all evil in Denmark is Mother’s irresistible sexuality; she has been birthing monsters since before the film begins and will apparently continue birthing monsters after the film ends. Her evil triumphs over all male efforts to stop her, and no women can apparently stand in comparison.

She is also an emasculating figure. In the poem, when Beowulf ventures into the lair, Unferth gives Beowulf his ancestral sword Hrunting. The sword turns out to be unable to hurt Mother, and she melts the blade down to its hilt. In the film, as she seduces Beowulf, he holds up Hrunting and she begins to stroke it with her hands, causing it to melt even as he has sex with her. So the film directly associates the sword with Beowulf’s penis, showing it softening when he yields to her.

Mother stroking Beowulf’s sword

And lest I be accused of getting Freudian without warrant, the film repeatedly draws parallels between swords and Beowulf’s dick. When Beowulf strips naked before the fight with Grendel, the film has a running joke of various things obscuring his penis: Wiglaf’s arm, smoke, a candlestick, and finally and most blatantly a sword. When he confronts the mermaid, he drops his sword just as she embraces him. At the end, as he is trying to reach the dragon’s heart, he drops his knife and its only then that he can reach in and rip the heart out with his hands. So the film has an odd pattern in which being swordless is somehow a metaphor for sex and heroism. It’s a clumsy image; how can he get Mother pregnant if his sword has already gone flaccid? But it’s definitely there. So the film seems to say that having sex with Mother is going to lead to his impotence.

See what I mean?

And of course, Mother sends her son the dragon out to kill when her deal with Beowulf is broken by the theft of the cup. So she gets her son killed because she’s angry with Beowulf. Grendel goes out on his own, not at her instigation, but when Beowulf comes to the lair the first time, she actually decapitates Grendel’s corpse for some reason. So just as she ruins the men she sleeps with, she also seems to ruin her children and treat them as pawns.

When you combine Wealtheow and Mother as images of femininity, we’re left with a view that women are simply destructive to men. Their power is profound, corrosive, irresistible, and ultimately enduring. Both women survive the film.

I get it. I understand why Gaiman and Avary decided to make the plot of the film fold back upon itself by linking the dragon to Beowulf’s mother and using the cup/Dragon Horn as a recurrent symbol of Mother’s seductive power. I’m sure they thought that resorting to the cliché of the Hero’s Redemption would produce a satisfying twist on the original text. But I’m baffled by why Gaiman, who is normally a subtle and perceptive author, didn’t recognize what a moral sludge the story becomes as a result of these choices and how deeply misogynist the film’s treatment of its female characters are. And he failed to recognize that the poem’s continued power grows to some extent from the fact that it doesn’t follow contemporary notions of story-telling. It produces a satisfying story of a great hero doing great deeds despite the lack of a through-line plot and the directness of the hero’s personality. And it’s not as if American action films aren’t brimming over with morally simplistic heroes whose heroism mainly consists of killing all their opponents. There must have been other ways they could have made the story engaging for modern authors than just pissing all over the entire notion of heroic valor.

Still, there’s one thing I take comfort in, no matter how much this film infuriates me. As Gaiman wrote in Sandman 13, “The Great Stories will always return to their original forms.”

Want to Know More?

If you really want to see this crappy film, you can find Beowulf on Amazon. Better yet, read the original. The Seamus Heaney translation of Beowulf: A New Verse Translation (Bilingual Edition) is popular these days, but honestly, I think it’s terrible, constantly introducing Irish terminology where it doesn’t belong and horrible to read aloud. Burton Raffel’s Beowulf (Signet Classics) is a prose translation, but does an excellent job of translating for meaning. A much better poetic option is Dick Ringler’s Beowulf: A New Translation for Oral Delivery (Hackett Classics), which is meant to capture the way the poem would have sounded. (Full disclosure: I was a student of Ringler’s in grad school–he’s the best teacher I’ve ever had the privilege of taking a class with.)

The Physician: Getting More Things Wrong

Tags

Ben Kingsley, Medical Stuff, Medieval Islam, Medieval Persia, Movies I Hate, Religious Stuff, The Physician, Tom Payne

The majority of The Physician (2013, dir. Philip Stölzl, based on the novel by Noah Gordon) takes place in and around Isfahan sometime in the later 1020s, as we watch the Englishman Rob Cole (Tom Payne) studying medicine at the hospital run by the great Muslim intellectual Ibn Sina (Ben Kingsley). I really applaud the film for choosing a settling so unfamiliar to Western audiences, and for trying to depict one of the cultural glories of medieval Islam, namely its Golden Age, when Muslim intellectuals were at the forefront of human knowledge, well beyond Western Civilization. The film’s prologue text even foregrounds the superiority of Islamic medicine over Western medicine. Given the current tendency in the West to view Islam as a religion of violent, intolerant extremists, such an attitude is a nice corrective.

The film also deserves some credit for showing some of the religious complexity of the Islamic world. In the film, Isfahan is a Muslim city but it also hosts Jews and Zoroastrians. And the film acknowledges that the different religions are judged according to their own laws rather than Muslim law. So the film makes an attempt to show the relative tolerance that characterized Muslim society.

Unfortunately, that doesn’t mean that the film actually gets things right. In fact, the film rather subtly undermines its message of Islamic medical superiority with its choice to make its hero an Englishman. And the film wildly bends the facts at a couple of key points.

The Plague

One of the major crises of the film occurs when the Bubonic Plague breaks out in Isfahan. People start dying, naturally, and the shah orders the gates locked, trapping everyone inside. But the brave scholars of the hospital reject the chance to leave before the gates are shut, deciding that they will stay and treat the sick.

Eventually, Rob realizes that the disease is transmitted by rat fleas, so Ibn Sina orders the use of rat poison and all the rats die, effectively ending the plague once the bodies are burned. There are problems with that idea; the poison isn’t likely to kill all the rats (especially since rats are notoriously cautious about what they eat), and the fleas that prefer to host on rats are more than capable of hosting on humans, since that’s how the disease gets passed to and between humans.

Ibn Sina (Kingsley) tracking the number of deaths from the Plague

Oh, and there’s also the small problem that there was no outbreak of the Black Death between the 7^th century and the 14^th century. This epidemic is entirely fictitious. (But, to  be fair, it’s not inconceivable that the Bubonic Plague could have broken out somewhere in this period.)

But the real problem to my eyes is that in a hospital full of Persian, Arabic, and Jewish scholars, including Ibn Sina, who is explicitly presented as the greatest living medical expert in the world, it’s the one plucky European who figures out that the Plague is transmitted by fleas. So while the film is presenting Islamic medicine as being superior to Western medicine, it takes a Westerner to figure out how to apply Islamic medicine to treat the problem.

The Dissection

During the epidemic, Rob suggests dissecting a corpse to see if the buboes could be surgically excised, but Ibn Sina refuses, saying that Islam forbids dissection. The lack of anatomical knowledge due to a supposed ban on dissection of corpses is a theme in the film. But although contemporary Islam does see medical dissection as a problematic issue, most contemporary experts on Islamic law agree that it’s permissible with a few limitations, and there’s no clear evidence that medieval Muslims were much different. A number of medieval Islamic medical experts supported the practice. So it’s unlikely that Ibn Sina would have refused to dissect a body in the middle of a medical crisis if doing so offered hope of a potential treatment.

But after the epidemic, Rob meets an elderly Zoroastrian man who is dying. When he learns that the Zoroastrians place no value on a person’s corpse, when the man dies, Rob hides his body in an ice cellar and over the next several weeks gradually dissects the corpse and draws what he sees.

Rob dissecting the old man’s corpse

However, there’s a villainous mullah in Isfahan, one who is in league with the Seljuk Turks who want to conquer Isfahan, and the mullah has agreed to cause trouble in the city. The mullah’s motives aren’t really clear, except that he’s a fanatic who thinks the shah is too lax. The mullah despises the hospital for being unislamic and orders his men to search it. They find the dissected corpse and drag Rob and Ibn Sina in front of the mullah, who sentences them both to death.

There’s a lot wrong here. It’s a wild misrepresentation of how Muslim communities operate. Mullahs are Shiite religious expects; they lead mosques, deliver sermons, and perform a variety of rituals that make them very loosely the equivalent of a Christian priest or minister. But like Christian priests, they have no legal authority and no power to compel people to obey them. The medieval Islamic court system was staffed by qadis, men who were trained in sharia (Islamic law) and then appointed to their office by the local ruler to act as a judge. Some mullahs were qualified to act as qadis, and vice versa, but the two offices were as distinct as a priest and a judge are today. And the villainous cleric is definitely a mullah; he’s shown preaching sermons in a mosque. So the mullah would not have any more legal authority to order someone’s execution than my Lutheran minister father did. And it’s highly unlikely that the shah would have allowed the execution of his star physician anyway. And, so far as I can tell, mutilating corpses was not a capital offense in medieval sharia. But, if I have learned anything in writing this blog, it’s that in the cinematic past, clergy just made up the law as they went, so they could use religion to justify absolutely anything they wanted.

 

The Operation

However, before Rob and Ibn Sina can be executed, the shah’s men arrive. The shah is having an attack of “side sickness”, Ye Olde Timey name for appendicitis, which won’t be medically recognized for another 500 years. And of course, appendicitis requires invasive surgery, which can’t be done without a good knowledge of anatomy, so there’s nothing to be done. Except that, totes coincidence!, Rob has just acquired a good knowledge of anatomy by dissecting that corpse. So Ibn Sina helps Rob operate on the shah and save his life by removing his appendix.

Again, the film glosses over a number of big problems here. Sure, Rob has learned a lot about anatomy, but how does he know that ‘side sickness’ is caused by the appendix as opposed to any other organ, and how does he know that removing the appendix is the right way to treat the condition? How do they deal with the problem of blood loss in an age that has no ability to perform transfusions? They drug with shah with opium to anesthetize him, so at least the script considers that issue. But the whole scenario is just wildly implausible.

And once again, the film resorts to the Westerner saving the day by employing Islamic medicine in a way that Muslims weren’t able to do, in this case because their religion is an obstacle to the advance of science. The greatest physician in the Muslim world is reduced to helping his English student perform an operation because the Englishman has miraculously surpassed him just by cutting open a corpse. So after establishing the superiority of Islamic medicine, the film subtly reasserts the notion that Islam is an obstacle to science.

And that view of Islam as backward is reinforced by the villainous mullah, who hates the hospital simply because it’s unislamic in some unspecified way. This point is driven home because, while Rob and Ibn Sina are operating on the shah, the mullah’s men are ransacking the hospital and lighting it on fire, and, for good measure, they attack the Jewish quarter as well, killing a lot of the Jews and burning down the synagogue. Rob conveniently finishes up the operation in time to rescue the Jews trapped in the synagogue’s mikvah. So once again, our Western hero saves the day from the forces of Islamic irrationality.

Rob and Ibn Sina watching the library burn

The film wants to show how scientifically advanced and religiously tolerant the Islamic world was, but it still somehow manages to fall prey to the clichés about Muslims being fanatical, hostile to non-Muslims, and anti-intellectual, and it resorts to the trope of the Westerner rescuing all the non-Westerners who are simply incapable of making the intellectual leaps that he is capable of.

Oh, and One More Thing

When Rob Cole gets back to England, he founds a hospital, 300 years before such things will exist in Western Europe. Have I mentioned lately that I hate this film?

Want to Know More?

The Physicianis available on Amazon. Noah Gordon’s The Physician (The Cole Trilogy) is available too.

The Physician: Muslims and Jews and Christians! Oh My!

Tags

Medieval Persia, Movies I Hate, Noah Gordon, Religious Issues, The Physician, Tom Payne

Fortunately, I was wrong about feeling an aneurism coming on after the first 20 minutes of The Physician (2013, dir. Philip Stölzl, based on the 1986 novel of the same name by Noah Gordon). A little calming bed rest and I’m ready to take on more of the film, which mercifully is less stroke-inducing than the first part, perhaps because I’m a specialist in medieval England and not in medieval Persia, where the rest of the film is set. But that’s not to say that it’s actually a good movie.

Robert Cole (Tom Payne), the anachronistically-named English protagonist with the magical ability to know if people he touches are going to die, decides that he wants to study medicine with the greatest doctor in the world, so he consults a map of the known world, about 400 years before any such thing existed. Then he sets out for Isfahan, Persia, sometime around 1022.

But he’s been warned that Christians aren’t allowed in Muslim lands. Sigh. Taken as a general statement, this is total bullshit. There was a thriving network of Christian communities across the Islamic world down into the early 21^st century, when the Iraq War released forces that devastated Christian communities in Iraq, forcing them to flee.

Unlike Christianity, Islam has fairly precise rules intended to guarantee Jews and Christians a measure of legal toleration as long as they do not challenge Islamic dominance. The basic rules were established by a document known as the Pact of Umar, traditionally ascribed to the second caliph, Umar ibn Khattab (who died in 644), but probably belonging to a slightly later period. According to the Pact, conquered Jewish and Christian communities could receive the status of dhimmis, or ‘protected persons’, provided that they paid a special tax, the jizya, accepted their inferior status, and obeyed a variety of rules that restricted their religious practices in different ways; for example, they could not build new churches, conduct religious rituals in public, and could not try to prevent conversion to Islam or pursue converts from Islam. If they accepted these rules, the dhimmis were permitted to worship according to their religious practices, were generally judged according to their own law, and could do things that were forbidden to Muslims, such as eating pork or drinking alcohol.

These rules are highly problematic in some ways, and are a far cry from 21^st century Western notions of religious toleration, but they allowed a substantial measure of peace and prosperity to Jews and Christians most of the time, and were far superior to the options that Muslims and Jews found in most Christian territories. They did not completely prevent conflict between different religious groups; anti-Jewish and anti-Christian violence or legislation periodically occurred. But dhimmi status was a part of sharia law, and therefore was not subject to the whims of individual rulers most of the time, because medieval Muslim society did not accord individual rulers much control over the legal system.

Tom Payne as Rob Cole aka Jesse ben Benjamin

So the movie’s claims that Muslim society did not tolerate Christians at all is, taken broadly, completely false. Noah Gordon is probably just talking (or writing) out his ass.

However, the early 11^th century did see a considerable decree of tensions between Christians and Muslims within the Shi’ite Fatimid Empire, which included Egypt and Palestine. For example, in 1009, the Fatimid Caliph Al-Hakim (who died in 1021) ordered the destruction of the Church of the Holy Sepulchre in Jerusalem. He instituted force conversions of Jews and Christians, which is contrary to general Islamic law. His actions were, strictly speaking, a violation of sharia, but Al-Hakim is often considered to have been insane, and the Fatimid caliphs enjoyed greater control over sharia in their territories than other rulers did.

Isfahan is about in the center of the green Abbasid zone on this map

Al-Hakim died in 1021 (unless you’re a Druze and you believe he went into occultation, a state of mystical hiding in which he continues to abide to this day), and the persecution of Christians and Jews came to an end, but since the film is vague about exactly when Rob is making his journey, perhaps he got to Egypt a bit earlier. Or perhaps Rob got out of date information and just didn’t bother to double-check it when he reached Cairo. But al-Hakim’s persecution of Christians did not apply to Persia, which was on the other side of Iraq from the Fatimid state, so the film is still basically wrong on this issue. Rob might have had to pretend to be a Jew while he was passing through Egypt, but once he reached Iraq he would have been able to admit to being a Christian again. I suppose we could say that by the time he gets to Persia he’s been depending on the support of other Jews, so that he continues his deception because he doesn’t want to offend his hosts, but I think that’s stretching things a bit too far.

Because he can’t be an open Christian, Rob decides to disguise himself as a Jew. He adopts the name Jesse ben Benjamin and (wince) circumcises himself. In for a penny, in for a pound I suppose. Exactly why he does this isn’t entirely clear. It’s not like the Jews he meets are going to make him drop trou while they shake his hand, so he could probably get by just by keeping his pants on, which is generally a polite thing to do around strangers.

Once he gets to Isfahan he settles in with a Jewish family there, and at one point fakes his way through a Hebrew table blessing, despite knowing neither Hebrew nor anything about Jewish rituals. At least, there’s no sign he knows Hebrew. Everyone in the film just speaks English, with no indication of what language it’s substituting for. He also miraculously learns to read Arabic at some point, despite not being literate at all earlier in the film when he’s shown an Arabic book. It’s not clear how long Rob spends in Isfahan, so I perhaps we should assume that he just learns to read during his medical studies, but unlike in some films, there’s no training montage to suggest it, and the idea that he mastered Arabic in a year or two is pretty implausible.

But the film does deserve points for exploring, at least in a half-assed way, the way that Jews lived in medieval Persia. The Jews of Isfahan live in a distinct quarter, have their own synagogue, and seem to be allowed to follow their own laws. They engage in commerce and education right alongside the Muslims of the city. We see a Hebrew worship service, and when the synagogue is set on fire, the camera focuses on the burning of the Torah scroll, treating it as the serious loss it would be. The film touches on the fact that Muslims are forbidden to drink alcohol but the Jews are permitted to do so.

The Molla Neissan Synagogue in modern Isfahan

Part of the film’s climax involves a Muslim riot that targets the Jewish quarter. The cause of this riot is rather muddled and cliché-ridden, and I’ll tackle it in my next post, but taken on its own, it’s reasonable example of how fraught with peril the situation of the dhimmi communities could be when religious tensions were inflamed. When they realize the rioters are coming for them, the Jews barricade the entrance to their quarter and defend it until they are overwhelmed, at which point they retreat to their synagogue and barricade themselves into that structure, also unsuccessfully. When the Muslims break in, they light the synagogue on fire and trap the terrified Jewish survivors in the mikvah, the synagogue’s ritual bath. Fortunately, our hero rather improbably manages to save the day.

Overall, the complexity of the religious situation is probably the best thing about the film. Very rarely do big-budget films explore the three-sided religious dynamics of the Muslim world, and even if this film does so rather imperfectly, it’s still interesting. It doesn’t make me hate the movie any less for its godawful opening scenes though.

Want to Know More?

The Physicianis available on Amazon. Noah Gordon’s The Physician (The Cole Trilogy)is available too.

The Physician: Medieval People are Dumb

Tags

Crappy Prologue Texts, Medical Stuff, Medieval England, Medieval Europe, Movies, Movies I Hate, Noah Gordon, Stellan Skarsgard, The Physician, Tom Payne

The Physician (2013, dir. Philip Stölzl) is based on a best-selling novel of the same name by Noah Gordon. It opens in England in 1012, when a young boy named Robert Cole…

Ok, hold it right there. I can’t even get past the main character’s name without having to comment. In 1012, there were no English people named Robert Cole. ‘Robert’ is a French name originally, and this film starts more than half a century before the Norman Conquest of English caused the importation of French names into England. Also, surnames like Cole won’t be in use for about another 300 years.

It’s a serious problem when a historical film, based on a historical novel, can’t even bother to give its protagonist a name that a person could actually have had during the period in question. The main character should have been called something like Aethelstan or Aedward or something like that, a good old-fashioned Anglo-Saxon name like the ones used in England in the period before the Norman Conquest. And the fact that Noah Gordon couldn’t be bothered to do the elementary research it would have taken to come up with an accurate name speaks volumes about the source material for this film. I haven’t read the novel, just a summary of it on Wikipedia, but it seems like the screenwriter was about as free with his adaptation of the novel as the novel is with the period it’s dealing with, and the result is a total shitstorm of inaccuracy that left me feeling very stabby. Within five minutes the film had me making such angry noises that my husband prudently left the room lest I accidentally injure him in a momentary fit of rage.

Noah Gordon

Ok, let’s see if I can get through today’s post without triggering an aneurism.

<Deep breath>

Ok, the film opens in 1012 with a young boy who works…

Crap. First we need to cover the prologue text.

“In the Dark Ages the art of healing developed in the Roman era has been widely forgotten in Europe. There are no doctors, no hospitals, only traveling barbers with poor knowledge. At the same time on the other side of the world medical science is prospering.”

So, medieval people live in the Dark Ages, when no one ever bathed or turned on a light. We know they’re ignorant because they’ve forgotten Roman medicine when the ‘other side of the world’, which turns out to be Persia, hasn’t. So, got that? Medieval people are dumb. All they have for doctors are traveling barbers who don’t actually know anything, while other people living someplace else still have medicine.

Ok, the film opens in 1012 with a young boy who works as a miner, exchanging whatever it is he’s digging out of the ground for lumps of bread that he takes home to give to his mother and younger siblings. Because medieval people use children as miners and are too stupid to have money, so they just trade rocks for bread.

On the way home one day, young Robert stops to see a traveling barber-surgeon (Stellan Skarsgard, in a role credited simply as ‘Barber’, so that’s what I’ll call him), who acts like a traveling salesman at an American county fair around 1900.

Grrr! I can’t even get three sentences into this summary without having another issue! Technically there were barber-surgeons in 1000, but they were a brand new thing at the time, and probably mostly based in monasteries, not wandering around in covered wagons acting like showmen. But this film doesn’t give a shit about things like that because it’s not really set in 1012. It’s set in Generic Olde Tyme Medieval England, where nothing changed for 1000 years because it was the Dark Ages. So 11^th century people can have 14^th century names and dress like 14^th century people and live in 13^th century architecture because history is just something we teach in high schools so high schools can have an excuse to hire a football coach.

Let me take a break and play with my stress ball for a minute.

<squish squish>

Soon thereafter Robert’s unfortunate mother is feeding them dinner when she has a momentary bout of pain. And we all know what that means. It means she’s about to die from “side sickness”, which is what they used to call appendicitis back in Generic Olde Tyme Medieval England before the disease had even been recognized medically. Rob runs to fetch Barber, but by the time they get back home, the local priest has wandered in and given her Last Rites and then declares that nothing can possibly help her except witchcraft and when Rob says maybe Barber can do something, the priest accuses Rob of challenging the authority of the Holy Church because GAAHHH! I hate this film already and we’re not even five minutes into it!

This is when my husband left the room. Maybe you should too.

How many fucking clichés about how bad the Middle Ages were can we fit into one five-minute sequence? Quite a lot, it seems. Where’s my stress ball?

<squish squish squish squish>

Ok, so where was I? Oh yeah, mom’s just died. The priest parcels out Rob’s younger siblings to local strangers, and bribes them to take the kids by offering them all the utensils. Then the priest claims the rest of the property as his fee for his services and leaves because apparently Rob’s mom has no earthly relatives who might intervene and no one cares that that means that the property would legally belong to Rob and his siblings, because they hadn’t invented law yet in Generic Olde Tyme Medieval England.

We know Rob’s the main character because unlike everyone else, he gets to wear color

Well, you can probably guess that, in a movie called The Physician, when Barber is the only remaining character left for Rob to interact with, Rob is going to wind up traveling with Barber.

So we flash forward an unspecified number of years, maybe a decade. So now it’s about 1022. Rob’s an adult, more or less, and played by Tom Payne. He’s become Barber’s apprentice.

URK! GAK! AARGH! There’s no such thing as apprentices in 1022 in England! It’s a concept developed by guilds, which don’t exist yet. But this is Generic Olde Tyme Medieval England, so they can apparently have any concepts they need to.

<squishsquishsquishsquishsquishsquishsqui…>

Shit! I just ruptured my stress ball.

Ok, deep breaths. It’s ok. You can do this.

<deep breathing>

Skarsgard and Payne as Barber and Rob

So Rob and Barber travel around long enough for us to see just how crappy medicine was back then. We get to see a tooth extraction with a pair of pliers. During the extraction, Rob suddenly gets a strange feeling, just like the feeling he had when he touched his mom the night she died, and he realizes the guy who just lost a tooth is going to die soon. Barber laughs him off, and they go off to romp in something that’s either a brothel or a tavern held in an old Roman sewer. It could be either, because neither such institution existed in the 11^th century, so take your pick.

Then the unfortunate dental patient turns up dead, and the locals immediately starts screaming that tooth extraction is a form of witchcraft because EVERYONE IN GENERIC OLDE TYME MEDIEVAL ENGLAND IS STUPID! APPARENTLY THE ONLY TIME PEOPLE DIE OR HAVE TEETH EXTRACTED IS WHEN WITCHES ARE INVOLVED. God I hate this movie.

<thumpthumpthump>

That sound you’re hearing is me smacking my head against the wall because I don’t have a stress ball to squeeze anymore and I’m all out of my meds. Go to your happy place, Andrew. It will be ok.

Of all the tropes about medieval society, this one perhaps annoys me more than any other, because it suggests that medieval people were utterly ignorant of basic facts of life and were therefore inclined to suspect supernatural forces at work whenever anything they disliked happens. Medieval people were less knowledgeable than we are today about things involving science and medicine, but they weren’t complete morons. In fact, they were just as smart as we are; they just had a different knowledge base to work with. They knew what tooth extraction involved, and that it wasn’t evil magic.

But anyway, they attack Barber and Rob and burn the wagon and burn Barber’s hands, which means that Rob has to take over the medical practice while Barber recovers. So we get to watch Rob perform his first amputation when a guy is brought in with a broken toe. And when he does it, the guy literally says “My first amputation!” like having body parts removed is a traditional rite of passage in Generic Olde Tyme Medieval England.

I hate this movie so much.

Barber after the attack

Well, eventually Barber develops a cataract, and lucky for him and Rob, they run across a family of Jews somewhere that includes a physician who knows how to couch cataracts, which rather astoundingly is an actual medieval practice that the film accidentally knows about. Rob is astonished by how much the physician knows, and the physician tells him that he studied with Ibn Sina, a genuine 11^th century Persian scholar. Why this smart Jew has decided to travel half-way across the known world to treat stupid patients in Generic Olde Tyme Medieval England is never explained, nor is how he manages to do medicine without getting accused of witchcraft.

Rob decides that he’s going to travel all the way to Isfahan in Persia because he wants to learn medicine and he can’t do that in England because everyone in Medieval England is stupid except the Jews and because Rob probably hates Generic Olde Tyme Medieval England every bit as much as I do. So he sets off on a journey to Persia. I’ll cover that in my next post because right now, after only 20 minutes of film, I am so full of hate and stabbiness that I’m pretty sure I feel an aneurism coming on.

Want to Know More?

No, trust me you don’t. Seriously, you don’t. Please, don’t make me do this.

Sigh, ok. The Physician is available on Amazon. Noah Gordon’s The Physician (The Cole Trilogy) is available too. Oh, lord! It’s part of a trilogy. I can’t even.

Dragon Knight: It’s Got Pretty Scenery

Tags

Daniel Auteuil, Dragon Knight, Medieval Europe, Medieval France, Movies, Movies I Hate, Pseudohistory

Perhaps my mistake was watching this when I was under the weather. I came down with something in the middle of the week and watching tv was about all I was up for, so I figured I’d watch something for the blog. And I settled on Dragon Knight (2003, dir. Hélene Angel, aka Rencontre avec le dragon, aka Red Dragon aka The Red Knight; French with subtitles) a film so obscure its Wikipedia page is barely more than a stub, despite starring well-known French actor Daniel Auteuil. But watching this film in my weakened state was a serious error it will take some time to recover from.

The film is set at some unspecified time during the later Middle Ages, in gorgeous southern France. It’s about a 15-year-old boy Felix (Nicholas Nollet) who wants to become a knight because he’s heard a story about the brave Knight of the Red Dragon (or just the Red Dragon), a great hero who rescued his young friend Raoul from a fire and was baptized by the fire (the Red Dragon of different titles) so that he won’t die, although he’s horribly burned. Eventually Felix finds the Red Dragon, Guillaume de Montauban (Auteuil), but learns to his surprise that Montauban is really just a bounty hunter, currently seeking a poet who ran away from the papal court. There’s another bounty hunter, Mespoulede (Gilbert Melki), also hunting the runaway poet, leading a substantial band of thugs who help him. Raoul (Sergi Lopez) is following Montauban, having gone insane; there’s a very complex and angst-ridden back story here involving a love triangle. There’s also a runaway mother superior who’s looking for the poet. Over the course of the film, Felix gradually becomes disillusioned with his hero, who fails to match up to his expectations and wrestles with his own personal demons.

It’s a very French film. People you can’t empathize with are doing things you don’t really understand. This is the sort of film where people get histrionic whenever there’s a moment’s downtime to reflect on how awful their past is, and spend much of the film so physically or emotionally exhausted that they fall down a lot at dramatic moments. If you pay attention you can piece together most of the back story, although you’ll have to care a lot more than I did. Half the cast appear to be delusional from grief at different moments. And the film is riddled with unexplained plot points. Why has the pope placed such a huge bounty on the poet? Why has Mespoulede’s horse died? Who’s the guy who’s wearing a half-face mask and getting angry at Montauban? Where did the baby go? What does the pope want with all those children? Why do Mespoulede and Montauban hate each other? I realize I haven’t explained any of that, but neither does the film. It seems to think that being a French film is an automatic license for not explaining things.

From a historical standpoint, the film is sort of incoherent. Montauban is a former crusader, and there’s another crusade supposed to be getting ready, but this is entirely irrelevant to the film; at no point does crusading actually matter at all. As I said, it’s unclear when the film is set; if I had to take a guess, it would be the early 14^th century, because the pope seems to be living in France. But the sets, other than the gorgeous French countryside, suggest some time around the 12^th century. But the pope is waiting at Aigues-Mort (misspelled in the subtitles as “Wegmort”), which wasn’t founded until the 1240s. But that’s not a problem because apparently Aigues-Mort is just an empty beach.

At first I thought the film’s costume designer was following the “it’s medieval, so it’s all the same” theory of costuming. Montauban spends the whole film wearing a long leather gown with square metal plates sewn onto it, and several other characters wear variations on this. Perhaps this is supposed to be a 14^th century coat of plates, but it’s not. He also wears a 15^th century tournament helmet with wings on it, but only when it provides a good camera shot. Felix runs around in a gambeson and knee guards, while Raoul mostly just wears a big sweater. Mespoulede seems to have a metal grill sewn onto his gambeson, and some of his men are wearing metal forehead guards.

Auteuil as Montauban in his weird coat of plates

And then about an hour into the film, the pope arrives with a massive entourage, and that’s when I realized that the costumer designer was actually smoking crack. The pope is wearing some sort of golden bulb on his head and massive platform shoes, looking like a dropout from the film version of Jesus Christ Superstar. He’s attended by knights in late medieval plate armor, one of whom is wearing—I am not kidding about this—an enormous metal tutu. The pope’s drummers are all covered in white body paint, and the crowd of people around him are variously wearing leather fleeces, generic rags, cloth-of-gold gowns, and red versions of KKK robes. The pope is apparently kidnapping children for his fiendish plot to tonsure them; I’m not really sure about that, but the film puts it out there just to drop it entirely.

After everything else wrong with this film, pointing out that it repeats the myth that medieval armor was so heavy that knights had to be lowered onto their horses with a crane is sort of an anticlimax.

The pope and the guy in the metal tutu. I told you I wasn’t making it up

Also, for reasons that aren’t explained, in a movie that is otherwise trying to be brutally realistic (at least what it imagines brutal realism about the Middle Ages would be), Raoul is a were-pig. He turns into a boar every night. At first I thought perhaps this was supposed to be symbolism, but no, he’s a were-pig. And his dead wife is wandering around covered in blood and talking to people. This really wasn’t a fair twist to throw at me in my weakened state, because I started thinking that maybe I was sicker than I thought and having hallucinations.

In case you hadn’t understood what I’m trying to tell you, this is not a film for watching. This is a film for putting aside and not looking at. This movie needs a warning label (although all the various titles it’s had might qualify, since that’s often a sign of a not-good film). This is not a film for the young, the elderly, or the immune compromised. For the love of God, Montresor, listen to my frantic cries! It’s too late for me; I’ve already seen it and my head hurts. (No joke; I actually got feverish after the film.) But there’s still time to save yourself. Watch an episode of Reign instead.

Update: My friend Bill has suggested that the metal tutu is probably inspired by Henry VIII’s tournament armor. It’s a genuine style of armor, called a tonlet. Clearly, someone associated with this film saw this and thought “I want that in my film! It’s within 200 years of the period of the film, so that will be ok.” Most tonlets aren’t fluted like this one, which was meant to be worn on a horse, not on foot. Thanks, Bill!

Henry VIII’s tonlet

 

Want to Know More?

Dragon Knightis, unfortunately, available from Amazon. You’ve been warned.

You might also want to lay in a supply of this: