Helen of Troy

The first thing I read about this movie was that it was terrible and that the first lady even though very gifted as far as bust is concerned was a nightmare when it comes to acting. However when I saw this film I had to disagree with those critics who tried to ruin a good movie. Even though the sets are nothing to those of "Ben-Hur", "Cleopatra" and other screen giants the sets of Cinecitta are stupendous. The colour is magnificent and the acting is quite good. It is true that the part of the heroine could have portrayed some more fragility, still Ms. Podesta' was quite satisfying. The cinematography is very good and the story never lingers. It is action-packed and is bound to marvel anyone who likes this genre.

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.

Based on Homer's Iliad and Odyssey, it's the story of the Trojan War. It's a grand old Hollywood epic from Warner Bros. They are shooting in Italy. The cast is international. The lead character is Paris which is a little odd. He always struck me as a bratty teenager. Of course, that's not the Paris in this movie. They are making him the hero and the Greeks as the villains. It's love against the world. I don't buy it, but that's what they're selling. The dialogue is a bit stiff. It's trying to be a Shakespearean tragedy. On top of that, the production is big. It's huge in fact. It's an old Hollywood epic in that sense. They really have ships and war engines. They have some big sets. They have masses of extras. It's very big and the battles are big. Whatever flaws this has, it's worth it to see all the construction and destruction.

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.

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.