Bowdlerizing ‘The Iliad’ with epic expectations

Troy (2004)
Warner Bros. presents a Wolfang Petersen film, starring Brad Pitt and Peter O’Toole. Adapted for the screen by David Benioff, from a poem by Homer. 165m. Rated R for graphic violence, sexuality and nudity.

3 stars

It’s a sad commentary on a solid film when it’s effectiveness relies on how accurately patrons remember the original source material.

Major studio screenwriters always pare down the grand print of a classic novel to its most sellable elements, and the big-budget “Troy” was no exception. Since patrons are familiar with the ground rules, the movie works as another sweeping epic in the spirit of “Gladiator.”

The story of “Troy” was taken from the epic poetry of the Greek bard Homer, who was credited with both “The Iliad” and “The Aeneid.” In the former, the poet recounts the drawn out war between the Achaeans - the largest tribe of Greeks who were led by the great warrior Agamemnon (in the film, Brian Cox) - and the Trojans.

Like few screenwriters asked to condense 10 literary years into approximately three cinematic hours, David Benioff did an admirable job of making the film fan-friendly. However, those passionate about Greek history - or of Homer’s much celebrated poetry - will gasp at the creative licenses he undertook.

In both versions, the primary catalyst was Achilles (Brad Pitt), a warrior who clearly understands his importance to each side. In “Troy,” Achilles acted as a haughty independent contractor who can be bribed into fighting if the promise of glory was sufficient. He stymied Agamemnon, who coveted Troy because of its access to the Aegean sea.

Agamemnon’s power-hungry motives have sealed an alliance between himself and his brother, Menelaus (Brendan Gleeson). The Spartan king enlisted his brother’s help after Paris (Orlando Bloom) eloped with the king’s wife, Helen (Diane Kruger). After Paris’s brother Hector (Eric Bana) refused to return Helen to her home, war was declared between Sparta and Troy with Achilles acting as occasional participant.

While the participating gods were mentioned occasionally by name in “Troy,” the movie took great pains to eliminate their formal participation. In doing so, Benioff eliminated one of the major contenders in the entire Greek conflict. The screenwriter adopted a more modern perspective instead, highlighting those who worship gods like Apollo to be more antiquated than their younger counterparts.

However, the deletion of significant input from the celestial caretakers posed an interesting dilemma for these newly fashioned Trojan fighters: Will they begin to look out for the real people - those clearly manifested in the physical realm - or will they continue to spare constituents in an effort to appease the gods?

In condensing the storyline, Benioff exaggerated the elements of love and power contained within the original poem. The most fascinating element of the newly constructed fighting was that no major character has the same reasons for their participation. Achilles was motivated by glory, even if his legacy “walks hand in hand with (his) doom.”

For Agamemnon, his power will be unencumbered once Troy falls. Paris was blinded by his attraction to Helen, but was considerably more timid when swords are drawn. Hector was the brains and the brawn who acknowledged the precarious position of Troy.

When Hector slays Menelaus at the behest of Paris - an occurrence not contained in the original source - the entire focus of the war has changed. Agamemnon’s greed was exposed after his brother falls; after all, he publicly vowed the support of his massive army to win back Helen, but privately, he coveted the land.

“The Iliad” concluded without a proper Hollywood-friendly ending, so Benioff tacked on the stories most culturally-adept individuals are familiar with: the legend of the Trojan horse and the imminent death of Achilles.

To some, Achilles’ death may be a welcome relief; perhaps the film’s greatest sin was the casting of Pitt as the god-esque warrior. While Pitt has showed his range in several movies before “Troy” (“12 Monkeys” and “Se7en” immediately come to mind), he was not rugged enough to play a time-tested warrior, no matter how impenetrable.

Pitt also lacked the natural rhythm of the ancient word, despite Benioff’s conscious decision not to emulate the patterns of the Ionic dialect of Ancient Greek. While seasoned actors Peter O’Toole (as Priam, King of Troy) and Brian Cox treated the material with an aire of respect, Pitt and Bloom acted as the most outlandish offenders of antiquity.

The scene-stealer in the movie was relative newcomer Eric Bana, who turned in a relatively non-descript performance in his first major Hollywood turn as “The Hulk.” Bana accorded the material its proper due and had the physical attributes that credit Hector as a character.

Much like “The Passion of the Christ,” another ambitious film that looked to consolidate a grand historic event into a few hours, I shudder at the thought of schoolchildren shirking their reading of Homer for this version. “Troy” was entertainment and - at moments - decidedly enthralling. But it should not serve as our last attempt at giving this timeless story its proper due. Much meat has been left on the bone by this film, even though we’ve managed a hearty meal.