Jason and the Argonauts

Nice and elaborate juvenile adventure based on The Argonauts 250 BC, written by Apolonio of Rodas, telling of the famous myth of Jason and his crew of derring-doers and their search for the Golden Fleece. As Jason, heir of the Iolco kingdom : Jason London, is aided or hindered by assorted whimsical Gods on Olympus, Zeus : August McFayden , and Hera : Olivia Williams, as he quests for the Golden Fleece. Along the way his father is killed by his evil uncle Pelias , Dennis Hopper in braids , who has taken the throne and usurped his inheritance. In order to reclaim it, Jason must retrieve the magical animal from distant Colchis and bring it to Pelias. Jason has to meet the blinded prophet Phineas : Derek Jacobi who knows the Fleece location, but he is continuously harassed by some winged demons or Arpias. As Jason assembles the ordinary motley crew : Hercules : Brian Thompson, Castor : Djalili , Polux : John Sharian , Orpheus : Adrian Lester, Argos himself : David Calder, all of them would-be heroes and set sail on the Argos for uncharted waters and numerous adventures to arrive in Colchis where governs a sinister king : Frank Langella who has two sons, the astute Aspyrtes : James Callis and the clairvoyant Medea : Jolene Blalock who falls for Jason . At the same time, Jason confronts rutless Amazons women : Natasha Henstridge, a corpulent bull, sword-wielding living plants and a giant dragon, among others.

Epic and mythological fare, fun for the whole family with several adventures, thrills, emotion, noisy action and the film itself is given an enormous boost thanks to computer generator special effects. As the impressive adventures are well recreated by superb FX with multitude of mythological creatures. As during his quest for the Golden Fleece Jason has to combat the giant Poseidon, a huge iron bull, winged she-devils and a dragon guarding the Fleece, this battle is the highlight of the movie. The gigantic mechanical bronze bull that Jason fights is an arthritic disappointment but most of the other inventions are pleasingly imaginative. Great fun, as these things go, with a colorful cinematography by Sergei Kozlov and a good musical score by Simon Boswell, to boot . The motion picture was professionally directed by Nick Willing.

This one is a TV rendition, there are other cinematic adaptations as The Giants of Thessaly 1960 by Riccardo Fedra with Ronald Carey, Ziva Rodann, Alberto Farnese, Tamberlani, Massimo Giroti. And the best : Jason and the Argonauts 1965 by Don Chaffey, including captivating FX, the actual stars of the movie, by master Ray Harryhausen with Todd Armstrong, Nancy Kovack, Jack Gwillin, Honor Blackman, Douglas Wilmer, Gary Raymond.

In watching the movie, it was very difficult to get past Jason London's poor acting. At no point during of the movie did it ever seem like he had any grasp of his part--he never seemed regal, charismatic (a leader), or powerful. London always seemed out of place with a reasonably strong cast around him. Too bad...the movie could have been pretty good.

This TV mini series was on over the Easter Holidays and i was caught by the impressive cast that they had lined up for this movie.... i also had to watch it also because i really enjoy greek mythology. What i got was over 3 hours of false mythology that doesn't even deserve to share the same title as the 1960's original.

Jason London was not convincing as the main character Jason, neither was Dennis Hopper unfortunately who fell victim to a silly scene at the end where hes wearing the fleece on his head, it cracked me up, he looked an idiot. Natasha Henstridge and Derek Jakobi were not in it enough to make any sort of impression and the gods were too merciful i thought.

The SFX was okay, but i still prefer the ground breaking effects of Ray Harryhausen who's designs for the titans in the original scared me when i was younger.

This film was false when it comes to sticking by the facts of greek mythology i.e. there were no female argonauts - Atlantas is a false. Also the fact that Orpheus was greek and not African, these are just a few points from many mistakes that effected this series.

My two biggest groans though must be.... a) Why did they replace Talos the bronze giant with that stupid bull, Talos was my favourite Titan in the original and i was looking forward to see him redesigned for this series.......but not into a stupid bull that breathes fire....OH DEAR! Also the Hydra was replaced by a dragon......why?......i don't know?

and b) The sound effects were not as ground breaking as the original. The sound for the original film captured half the scene, an example being the appearance of Talos - it created tension. It was sorely missed.

In the end Hollywood have spoilt mythology and replaced it with a child's bed time story........5/10

Being an unconditional admirer of Ray Harryhausen's and Don Chaffey's version of `Jason and the Argonauts' could be a disadvantage to fully enjoy this Hallmark mini-series. But surprisingly it has its own values to make it an enjoyable experience.

First I'd like to claim that I see no reason to diminish its merits because of its faithfulness or liberties regarding Greek mythology. This is cinema not literature, and it must be evaluated as a work of moving images. If judging a cinematic work according to literary precepts were the rule, then not even the 1963 film would endure this kind of judgment: as I remember it, Medea, for instance, was described as a high priestess not related to the royal family of Colchis. According to the faithful-to-literary-source approach, that would be enough to condemn the motion picture. On the other hand, I believe that `Jason 2000' was also inspired by cinematic tradition, not only by the 1963 production but other sources as well, as Marcel Camus' `Orfeu negro', and today's horror films. It was also inspired by our times: the reason to include a female Argonaut validates the role of women warriors, instead of being a feminist or `politically correct' concession.

One of the most interesting things about this version is its casting, resulting in the fact that the story is told from the point of view of very young people, with all their impetus and fragility. When most contemporary motion pictures portray aimless young persons, this series shows a purposeful youth, young people with a mission and who fulfill their destiny with passion. Such is the case of Jason, Medea, Acastus, Atalanta, Aspyrtes, Orpheus, Zetes, and most of the Argonauts. These are the real protagonists of the story. In their search for justice and love, they are helped or betrayed by their elders, be it gods (Zeus, Poseidon, and Hera who appears three times as an old peasant woman) or humans (Pelias, Aertes, Phineas).

It is inevitable to compare the film to its predecessor: concerning the gods, this time they seem more lustful and primitive than the Olympus portrayed in the 1963 film, with Nial McGinnis and Honor Blackman fighting over Jason's destiny. This time Hera and Zeus feel unequivocal sexual attraction towards Jason and Medea, respectively. Hera makes reference to Zeus' frolicking with humans, and that may please the Greek mythology purists. But their representations seem out of a detergent TV spot -clouds included- and the acting by Olivia Williams and, specially, by Angus MacFadyen do not help much. At least, in the original the naiveté of the gods seemed more apt to the story being told, than these two creatures who open the narration in awe, but close it with embarrassingly sexy foreplay.

Special effects are fine, but in some respects they do not surpass the Harryhausen creatures. A mechanic bull –sound effects included- substitutes Talos, but the titan is evoked by the imposing height of a Poseidon out of `The Neverending Story'. The sequences of the dragon, the skeleton army and the harpies do not improve on the original ones. Compared to the seven-headed hydra, this dragon is rather silly (it falls awkwardly into a precipice that it has previously climbed with ease). The skeletons –this time looking like mannequins grounded on earth- lack the grace of the mean originals. In spite of the work of the Jim Henson workshop, the whole harpies sequence lacks the dark and exciting atmosphere created by Harryhausen, Chaffey and Herrmann.

In this version, there are more exciting warring scenes and Jason finally claims his throne, but to make the story work for three hours the film is full of melodramatic gestures and dialogues, which alternate with the action. The writers added some `character development' with Freudian overtones taken from a Psychology 101 course, that give a little depth to the characters: it may work for Pelias, Polymele or Medea, but in the case of Jason, being an action hero, his uncertainty and doubts tend to diminish the empathy with the viewer. In other occasions, they are too tame or just do not make sense: did Aspyrtes have an incestuous relationship with Medea, or is he gay and jealous of Medea because of Jason? In this respect, direction of actors is very suggestive in many different scenes.

All this said, I think that the film has the same enthusiasm of the original; the search for the golden fleece is still fascinating no matter how much Greek mythology has been altered. In the final analysis, `Jason 2000' is an enjoyable mini-series, with a story of tyranny, greed and righteousness still relevant for our times.

I enjoyed the 'Jason and the Argonauts' remake. I almost bought it, until I reached the end of it and realised that Talos, the Bronze Giant, had not made an appearance in it. C'mon, this character made the first one so special, so great. Talos really comes alive in glorious special effects; I wish they'd kept him in, I really do. Then I would've bought the re-make, which in other respects is more faithful to the mythology. Admittedly, Talos was only peripherally important in the myth: he lived on the island of Crete and used to hurl large rocks at passing vessels. Only by Medea's charm can the monster be overcome. They did the same to 'The Odyessy': left out the Sirens, who lured unwary sailors to their doom on the rocks. C'mon! How can you have a film about 'The Odyessy' and not include them? Let us hope the next person to write a screenplay based on an ancient myth will include all the important bits seemingly left out of modern remakes. even though they do look good.