I am not really a fan of this film. The principal reason for this is Troy, like The Watchmen, being entertainment, breaks my the cardinal rule: the bad guys win.
In our cynical age, where we have become to shallow to be inconvenience by hard work, ethical standards, or fair play, we have become cold, sarcastic and aloof. How many of you have heard the worn-out phrases re-imagine or deconstruct—these are catch phrases used by people who don’t understand any given source material as it is originally presented.
Let me translate.
These phrases mean “I’m stupid, and I don’t get it, so I am going to bring this high work down until I can understand it with my limited intelligence.”
So, returning to my point:
Simply put—and I will go into greater detail of this consideration in my new personal blog in 2010—I don’t need Hollywood to make motion pictures in which the bad guys win.
I have the blood-drinking news media for that.
But the most grievous crime committed in Troy, is its total disprect, in fact it’s inversion, of the original source material. This is not an interpretation of Homer’s Iliad, but a secularized attempt to pervert the Iliad’s theme antithetically.
The Iliad is absolutely replete (pregnant) with gods and goddessess: Greek religion, mythology, theology, spirituality—and they are not idle. The deities in The Iliad are proactive, reactive, and interactive. Wolfgang Petersen decided to strip the active spiritual canvass of this religious work out of the film. Now, if he had stopped there, okay, fine: we got a swords-and-sandal movie.
But Mr. Petersen takes the extra step of then turning The Iliad into an anti-religion soapbox.
This is like making a Holocaust movie in which you remove the Holocaust, blame the Jews and treat the Nazis as the good guys.
Now, whatever your personal opinion of The Mystery (spirituality) is irrelevant. You don’t subvert the work of others entrusted to you.
This is why sermons are best left to priests and preachers, not filmmakers.