It allows us to take a very few indicators and suppose a world. Deliberate deprivation of young boys is supposed to somehow instill valor. Tactical stubbornness leading to defeat is somehow celebrated, I suppose, coming very close to the 72 virgins bit.įlying blood droplets is supposed to somehow validate combat expertise. Yes, indeed, sometimes this slipped for me into the opposite of what it was intended to purify. The elixir of admiration for the west snapped to Zoroastrian soma more often than not.
#Mon Trainer Cabal Ph free
That's because the history is that the Persians (the Achaemenids were actually Medes, more like Afghans are today) were the great world-builders of the era, creating less a totalitarian state than a federation of free states that flourished by trade not terror. And the Spartans were the thugs, the warlords who oppressed and terrorized their neighbors, building a state based on pillaged wealth. Even the Nazi association is reversed, the Medes were the Aryans, the Spartans essentially African, and no longer extant in today's Greece. (Later, the Alexandran Macedonians, the Greeks of today, destroyed the by then corrupt and fragile Persian empire and all its great libraries and histories, torturing the collected scientists to death, in what has to have been the greatest and most brutal setbacks of civilization ever.) So the resonances with today keep oscillating in a strange and stimulating dance between the intended admiration of these thugs we are meant to feel as the west, and those of Islam. But that "struggle" is over issues as remote from this as swimsuits are from locomotives. It's tied together by a consistent score, mixed of heavy metal and aeolian voices. And it does have a story, actually two though simple, they span the thing and stitch pieces together. But there are distinct visual styles here, too many to integrate. I felt actually as if I were defending myself from some of them as they came at me just as the different components of the Persian army attacked the 300 hooting bodybuilders. Its inevitable I suppose, when the computer work is so massive it has to be parsed out to creative teams distributed all over the world, and they have nothing better to go on than a comic book. I will admit that some of the these teams gave me great satisfaction, some of them in the actual battle scenes where the speed-shifts worked to emphasize the mapping of comic panels into reality. This, if you follow such things, was developed by Peter Weir in "Gallipoli," starring a then new Mel Gibson. Mel then sorta borrowed them for his own battle epic, including the early scene where he lops off a head. Here we emphasize the flying bodies, body parts and blood which quite literally become architectural. In fact there are three distinct architectural structures here made of bodies, and many others large and small made of living men. For me the center of the thing is the early scene where the oracle is consulted.
#Mon Trainer Cabal Ph movie
when I see this plot device early in a movie, someone with a vision (or dream or hallucination) I tend to see the rest of the movie as what's in that vision.
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