Die schöne Helena

I loved "Helen of Troy" when I was a young girl in the 50's. Paris, played by Jacques Sernas, was the most gorgeous man I had ever seen and to me, made his character come alive. I wondered how I would feel about Jacques' performance after seeing Orlando Bloom play a rather wimpy Paris in "Troy". Sadly, there didn't seem to be any chemistry between Paris and Helen in the new version. When comparing the original, classic version, I was pleased to find that it still remains an exciting and dynamic story and could not be improved with extravagant special effects. "Helen of Troy" has a romantic, poignant warmth and the audience is compelled to hope that Helen and Paris can have a happy life together. In the new version, it didn't seem to matter if they stayed together or not, their story almost felt secondary to the glorious story of Brad Pitts' Achilles. Needless to say, I highly recommend the remastered DVD of "Helen of Troy, 1956" for the discerning movie viewer.

This movie typically dates from an era, when the many local movie-theatres were visited regularly for their newest issues. An era when television could not compete yet, also an era when society wasn't as hectic and demanding as it is today.

So just sit back, relax, and take your time to watch 'Helen of Troy'. Fifties-movies generally are well-made and worth watching, and this one is no exception. For instance, enjoy the 'overture', a fine piece of film-music to get you in the right mood. The concert is on for about five minutes, the screen before your face not moving at all during this entire period.

Once 'Helen' is on her way, you will enjoy the quality of the (color-)shots, and that of the actors and actresses. Their heroic style of acting, completely out of fashion now, is remarkable. Further there is not much to add. The fifties show a clear trend for pompous movies lending their plot from ancient Greek or Roman history. Such as 'Ben Hur', 'Spartacus' and 'Quo Vadis'. 'Helen of Troy' also belongs to this category.

And, what about Brigitte Bardot? Her tiny role as a slave-girl in a pompous Greek-history setting does not suit her talents very well. Brigitte makes the best of it, though, occasionally succeeding in letting her famous image shine through.

It is good for the viewer to see this cinemascope spectacular from 1956 after seeing the new TROY with Brad and Eric. HELEN OF TROY as directed by craftsman Robert Wise is very pleasingly made and with excellent action and spectacle - especially in the well populated fiery siege scenes. No CGI in those days, there really was a couple of thousand dressed and armed extras running all over the huge set. Apparently Robert Wise is on record as having said he took the $6 million assignment because he hadn't yet directed a spectacular....! Told from a different perspective than the 2004 version, this 50s view is from the point of Paris as opposed to Archilles in the new one. It would be like the new one being told from Orlando Bloom's perspective rather than from Brad Pitt's. HELEN OF TROY on DVD has good extras including the TV specials made with Gig Young as a promo of the time. The huge set created in Italy was recycled into SODOM AND GOMORRAH given the orange pillars and layout. HELEN OF TROY has excellent Warnercolour and beautiful art direction. It is a good film and well worth seeing after you see TROY as a companion/chaser.

Come on, IMDb'ers! Get your stuff right. Warner Brothers was the studio and they usually forced their producer/directors around this period to use their own proprietary single-strip color process, rather than Technicolor, which by 1956 had already abandoned its own more expensive to use and cumbersome to handle three-strip process. Somehow Robert Wise and his technicians managed to get more variety and warmer tones while using Warnercolor in this film than what was usually achieved stateside on W.B.'s Burbank sound stages and on various U.S. locations. Maybe it was, as Franco Zeffirelli is fond of calling it, "the golden-ah light" of Italy. Anyway this film is quite an eye-filling visual achievement. And Max Steiner's score is one of his better ones, pumping up the spectacle aspect quite effectively.

A couple of trivia notes: The Walls of Troy set accidentally caught fire before the company was finished with it, but Wise and his technicians were on the spot and managed to get some usable footage out of that disaster. (I don't know if they had to reconstruct it or rewrite some scenes that were originally supposed to have taken place on its ramparts.) And TIME magazine in its review complained that Signorina Podesta's vaccination scar (and I think that of Monsieur Sernas as well) is clearly visible in a love scene. Without computers to fix such gaffes back then, and probably not noticing that little "oops!" until examining footage in a U.S. screening room when the company returned home for editing, the studio probably figured they'd just let it pass. But forty-foot wide CinemaScope screens were quite merciless when it came to audiences' perceptions of the obvious.

HELEN OF TROY is a very respectable Hollywood sword and sandal effort from the 1950s, with a strong international cast and very good production values. Except ...

Why does every popular culture effort at retelling the Trojan War myth have to make Paris the hero? In the Illiad, by far the most significant and authoritative source of the story, at best shows Paris to be an ambiguous figure--the best looking man of his generation, but often a coward in battle. Helen expresses extraordinary contempt for him in one extended passage. In one or two brief sequences, Paris fights valiantly, but in his major appearance, his winner-take-all-and-Helen duel with Menaleus, after bragging and crowing about his prowess, he completely wimps out in the battle, and, once defeated, is transported by Aphrodite back to Troy to hide in his bedroom.

HELEN OF TROY is not the only effort to mis-read the Illiad into a Paris-and-Helen "runaway" love story. Perhaps in writing a commercial screenplay, that's what any writer would be forced to do. But that doesn't speak well for our popular culture, one that can't sustain the ambiguity and complexity of another culture--of 2700 years ago!

Still, the movie has its strong parts, particularly Stanley Baker as Achilles. Watch for Brigitte Bardot in an early, pre-star role as Helen's handmaiden.