Last Samurai
There are many reasons to recommend Troy as a good ol' fashioned Hollywood epic, especially if you've never read Homer's The Iliad. Dispensing with Greek gods altogether, this earnestly massive production (budgeted at upwards of $200 million) will surely offend historians and devoted students of the classics (for them, there's the History Channel's Troy). But there's politics aplenty in the grand-scale war that erupts when Trojan prince Paris (Orlando Bloom) makes off with Helen (blandly beautiful German model Diane Kruger), wife of Spartan ruler Menelaus (Brendan Gleeson), whose brother, the Greek king Agamemnon (Brian Cox) prods him into enraged retaliation. Greek warrior Achilles (Brad Pitt) brings lethal force to his battles (and there are many of them, mostly impressive), and his Trojan counterpart, Paris's brother Hector (Eric Bana), adds even more buffed-up beefcake to a film so chock-full o' hunks that there's barely room for Peter O'Toole (doing fine work as Trojan king Priam) and even less for Julie Christie, appearing ever-so-briefly as Achilles's melancholy mother. The drama is nearly as arid as the sun-baked locations (Mexico and Malta) that stand in for the Aegean coast, and many critics suggested that Pitt (who valiantly tries to give Achilles some tormented dimension) was simply miscast. But when you consider that Wolfgang Petersen also made The Perfect Storm, there's nothing wrong with enjoying Troy as a semi-guilty pleasure with a touch of ancient class. --Jeff Shannon While Japan undergoes tumultuous transition to a more Westernized society in 1876-77, The Last Samurai gives epic sweep to an intimate story of cultures at a crossroads. In America, tormented Civil War veteran Capt. Nathan Algren (Tom Cruise) is coerced by a mercenary officer (Tony Goldwyn) to train the Japanese Emperor's troops in the use of modern weaponry. Opposing this "progress" is a rebellion of samurai warriors, holding fast to their traditions of honor despite strategic disadvantage. As a captive of the samurai leader (Ken Watanabe), Algren learns, appreciates, and adopts the samurai code, switching sides for a climactic battle that will put everyone's honor to the ultimate test. All of which makes director Edward Zwick's noble epic eminently worthwhile, even if its Hollywood trappings (including an all-too-conventional ending) prevent it from being the masterpiece that Zwick and screenwriter John Logan clearly wanted it to be. Instead, The Last Samurai is an elegant mainstream adventure, impressive in all aspects of its production. It may not engage the emotions as effectively as Logan's script for Gladiator, but like Cruise's character, it finds its own quality of honor. --Jeff Shannon
Director(s): Edward Zwick
- R (Restricted)
- Year:
- 2003
- 154
- 5,908 Views
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