Espartaco

A famed masterpiece and marvellous epic version about Spartacus life that won 4 Oscars, containing exciting drama and overwhelming battles featuring thousands of real extras. The true story of a gladiator who leads other slaves in a rebellion against the power of Rome in 73 BC. This is the classic version about the true story of gladiator Spartacus. At the beginning , the Thracian slave laboring in harsh rock, when he's purchased by obese Battiatus (Peter Ustinov). Brought back to Capua in a gladiator's school, he meets corpulent gladiator named Draba (Woody Strode) and falls in love with Varinia, a gorgeous slave (Jean Simmons). He escapes and stirs up all gladiators and slaves in a revolt (73 B. C.) against the power of Rome .After various generals are vanquished , the rebellion is put down by Crassus (Laurence Olivier) who confronts with wily old senator Gracchus (Charles Laughton). Spartacus actually died in battle and his body was not found. Electrifying Excitement!. The Electrifying Spectacle That Thrilled the World!. Human Desires so Strong they changed the course of History...of a Rebellion that shook a Civilization in a Pagan era, 71 B. C....the grandeur and might of Rome and the challenge of an immortal gladiator...of a love that changed the world.

Spartacus history, based on Howard Fast's novel, is imaginatively brought to life on groundbreaking frames with great production values, outstanding scenarios and Kubrick's control of the massive battles is commendable. Sword cross, drama, gladiators fights abound in this spellbinding adaptation on audacious Spartacus existence, one of the most rebels in the history. Kirk Douglas, whose political leanings are amply on display herein, also served as executive producer , surrounding himself with best talent available. Magnificent climatic battle scenes, featuring 8.000 real, live Spanish soldiers to stunning effect. It is a fitting description of Spartacus character, and it doesn't insult the viewer's intelligence. But it is in the observation of human detail and in many memorable little scenes when the film gets splendor. The picture score most heavily over other epics and in which it finds an inner strength. It's all immensely grand, though predictable , but also its predictability is redeemed in part by the charismatic performances of excellent starring with flawless portrayals and all around with the best talent available. Jean Simmons as Varinia , Charles Laughton as Gracus Peter Ustinov as Batiatus, John Gavin as Julius Caesar, Nina Foch, John Ireland, Herbert Lom, John Dall, Charles McGraw, all do commendably craftsmanlike work. A version featuring Kubrick's 'director cut' is nowadays available featuring a restored, controversial homoerotic bath scene wit Laurence Olivier and Tony Curtis. It contains a rousing and pulsing musical score by Alex North. As well as impressive cinematography in mighty 70mm and on the Giant Panoramic Screen by Russsell Metty with colorful images when the rebels are defeated and crucified along Via Appia, in a sea of crosses silhouetted against a sunset. The film was excellently directed by Stanley Kubrick that gave much-desired financial independence. Anthony Mann is uncredited as co-director.

The Spartacus life was previously adapted in 'Spartacus' (2004) by Robert Dornhelm with Goran Visnjic, Ben Cross, Angus McFayden, Ian McNeice, Rhona Mitra, Alan Bates. 'Spartacus' (1952) by Riccard Freda with Massimo Girotti and Ludmilla Tcherina. 'The son of Spartacus'(1962) by Sergio Corbucci and with Steve Reeves and a silent adapatation Espartaco (2013) by Giovanni Enrico Vidali . And TV series 'Spartacus , Blood and Sand' (2010-2013) with Liam McIntyre, Erin Cummins, Lucy Lawless, John Hanna. The movie will appeal to people enthusiasts for historic deeds and epic feats.

From what little I've read of this film it was lucky to have been made at all. Some very big talents had some very big egos and those egos clashed repeatedly. Original director Anthony Mann was replaced by Stanley Kubrick by Producer/Star Kirk Douglas among other clashes.

But the result was all worth it. The stars all give top notch performances, but the mark of a really great film is the memorability of each individual in the ensemble. To give a few examples, Charles McGraw as the sadistic trainer at the gladiatorial school, John Dall as Sir Laurence Olivier's protégé, and John Ireland as Kirk Douglas's fellow gladiator trainee are all memorable in the brief roles they have.

Kirk Douglas wisely opts for a straightforward interpretation of a hero in the title role of Spartacus. He's a BC everyman, born into a world which hadn't heard anything about human rights, he knows and feels he's not just cattle. Catch the alternating scenes of Douglas and Sir Laurence Olivier addressing the slave army and the Roman Army. Olivier with his years of Shakespearean training coming across as the tyrant to be, and Douglas in simple prose talking about the slaves fighting for their hopes and dreams. Very effective.

The plot concerns a revolt at a gladiatorial school which mushrooms into a crisis for the Roman Empire. Political factions led by Olivier as Crassus and Charles Laughton as Gracchus seek to use the slave revolt to further their own ends.

Laughton as always is a wonder. It's a bit of unusual casting for him because his parts are usually those of very tortured souls. His Gracchus is a sly rogue, but a decent man. One of my favorite movie lines of all time is delivered by him addressing the Roman Senate where he says he'll "take a little republican corruption for a little republican freedom."

Another sly rogue in the film is Peter Ustinov who won the first of his two Oscars as Batiatus the owner of the gladiatorial school. Like so many others I'm sure in those days, he's just trying to come out on the winning side when doing so could be a life or death situation.

Jean Simmons as Varinia, beloved of Spartacus, has the only woman's part of any substance. But when was Ms. Simmons bad in anything. One of the most underrated and under-appreciated actresses in the history of film.

The lessons about man's desire for freedom and to control his own destiny are eternal and valid. And this film will be also.

It is very much part of Hollywood folklore that having dispensed with the services of Anthony Mann, producer and star Kirk Douglas brought in Stanley Kubrick with whom he had worked so effectively in 'Paths of Glory'. This represented a daunting challenge and Kubrick passed with flying colours. The rest as they say is history although Douglas always felt that Kubrick was not as grateful as he should have been!

It would be well-nigh impossible now to assemble a cast of such substance and quality. There were bound to be clashes of temperament of course and the animosity between Olivier and Laughton has been amusingly recounted by Peter Ustinov who picked up an Oscar as Best Supporting actor. Olivier here is in his physical prime and is magnificent in the role of Crassus. He is ruthlessness incarnate but tender in his scenes with the Lavinia of Jean Simmons. He had previously directed her in 'Hamlet' and their professional bond is palpable.

There are scenes which are indelibly etched notably the gladiatorial combat between Douglas and Woody Strode and the scene where the slave army watches the legions of Crassus forming for battle which must surely have been inspired by Eisenstein's 'Alexander Nevsky'. The score by Alex North although harsh captures perfectly the brutality of the times whilst Russell Metty's cinematography is outstanding.

Forget the others, this is the only gladiator film that really matters and it will never be surpassed.

This is Kubrick's farewell to Hollywood. I would have liked to be a fly on the wall. I don't believe for a minute that it was a cordial parting of the ways. I mean, Kubrick never returned, never! With "Paths of Glory" Kubrick gave Kirk Douglas, not just his best part as an actor, but his best movie. By the time Douglas called Kubrick to "take over" "Spartacus" Douglas was already a huge star with too much saying in the matter. Look at it, it's clear. "Spartacus" is more Douglas than Kubrick. Great fun to watch, yes, absolutely. A terrific script by black listed Dalton Trumbo. Some fight sequences unequalled in the history of film. Look at the fight between Douglas and Woody Strode and compare it to the ones in "Troy" or "Gladiator" for that matter. It is sad an embarrassing to realise how low we've fallen. Computer generated images or not. The cast is unbelievable but it's clearly not Kubrick's. The casting of his movies was part of his master plan. He would cast a Ryan O'Neil as Barry Lyndon for instance so he can blend perfectly with the magnificent tapestry, without adding any colours of his own. The same can be said of Keir Dullea, in 2001, a robotic non entity in a showdown with a voice. When he needed actors to be at the very pinnacle of his universe he went to Peter Sellers, Malcolm McDowell or James Mason. Even the casting of Tom Cruise made a lot of sense. He used the star and his wife to talk about the dreamlike powers of betrayal. In "Spartacus" Tony Curtis, plays Antoninus, a teacher of the classics. A campy idea never seen in a Kubrick film, before or since. To be fair, there are some spot on, brilliant pieces of casting. Charles Laughton is, as usual, superb. Peter Ustinov, terrific. Laurence Olivier manages to give a multifaceted portrait of weakness, fear and greed. Jean Simmons makes the reason to survive totally believable. But the cutesy love scene between her and a shiny muscular, coiffed Spartacus is truly terrible. As a final blow, the scene is enveloped in a sticky, corny music theme. Having said all that. Don't you dare missing this epic. I'ts Kubrick's goodbye to Hollywood and like everything else that the master said or do, he really meant it.

A very moving and compelling story of epic proportions. The plot is relentless, propelled by a dazzling screenplay. Kubrick draws some of the greatest performances of the cast, and fills the screen with images that fascinate throughout. Well paced for a movie of this magnitude.

To those who complain of anachronisms and poetic license with historical events, I say to them, 'Remember, it is a movie.' To be truly accurate, the cast would be delivering their lines in Latin and ancient Greek, with English subtitles. Whatever Kubrick might lose with historical inaccuracies, he gains far more in his ability to convey the story to the viewer. Even though it is over forty years old, the film tells us more of the present day than it does of the past.