Friday, 17 October 2014

SPARTACUS: Gods of the Arena


Also Known As:
Unknown
Year:
2010
Country:
United States…
Predominant Genre:
Action
Directors:
Various
Outstanding Performances:
Peter MENSAH… Marisa RAMIREZ…
Premiss:
Before Spartacus struck down his first opponent in the arena, there were many gladiators who passed though the gates onto the sand.
Themes:
Alienation | Compassion | Destiny | Emotional repression | Empathy | Friendship | Guilt | Humanity | Identity | Loneliness | Loyalty | Mercy | Narcissism | Personal change | Political Correctness | Pornography | Redemption | Republicanism | Self-expression | Sexism | Social class | Snobbery | Solipsism | Stereotyping | Totalitarianism | White culture | White guilt | White supremacy
Similar (in Plot, Theme or Style) to:
Spartacus (1960)…
Review Format:
DVD

Bread & Circuses

As with the present-day (2014) decadence of White culture, this is a deliberately-matched trawl through the decadence of Ancient Rome. Whites see themselves by proxy in tales of the past when Rome declined, yet was the most powerful political regime of the day. Perhaps such a fate will not befall White culture despite all the evidence to the contrary if Whites study this past and learn from its mistakes. However, what is really happening here is the usual White yearning for causeless joy and self-indulgence without cost that the Romans also thought they could get away with.

Acting in modern English, with regular flourishes of Romanic insults, there is still little here that is actually about the Roman Empire. Rather, the issues allegedly debated concern the White world today and its many psychological insecurities and political tensions. Yet the implied issue of White decline is evaded in favor of an obsession with the very thing that sponsored Rome’s decline: A preoccupation with the purported relationship between Sex & Violence.

Eros and Thanatos are simplistically-emphasized with constant inter-cutting between sex scenes and scenes of violence - as if Human Nature were really that simple - and by repeating such scenes to no dramatic purpose. Like a Philip Glass opera, this kind of repetition is easy for the author but soon becomes trying for his audience. All this results in weak characterization, since there is no exploration of why these people are the way they are. Moreover, the acting is uneven and few characters ever engage our empathy or interest.

Like all tail-wagging-the-dog Special effects, this is Pornography pretending to be Drama.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.