Reviews

Compiled with on-set interviews with the likes of Jane Fonda and home movies with the likes of Rod Steiger and Paul Newman, the late Herbert Kline delivers a history and explanation of Stanislavsky and The Method by way of Strasberg. Strasberg cooperates with the film and his walk-through his past and tour of American drama is priceless. The surface is rough at points but that makes this documentary all the more immediate and endearing. This is a rarely seen film but should be brought back into circulation for the treasure that it is. Every drama department, every actor and acting student, every historian of American drama should hunt it down and see it. John Huff

Okay, so "Spartacus" is 40 years ago and lacked CGI sophistication. At least it was about a basic human theme. It's a shame the superlative acting talents of the entire "Gladiator" cast were used to serve a story of a Roman general seeking revenge against a corrupt emperor. For what? To see who gets to run the massive slave state of Rome for another few years? Whether Rome was Republic or Empire was a moot point to the 50 plus per cent of the population who were enslaved. "Spartacus" on the other hand is based on a real incident involving a real issue: freedom vs. slavery. "Gladiator" is bogus history. It is a fascist work. Ridley Scott's brilliant evocation of Riefenstahl when Joaquin Phoenix enters Rome is no accident. But didn't he realize that the whole plot as well was just an totalitarian wetdream? The movie never challenges the basic assumptions of Roman rule. For all his failings, Kirk Douglas, did that - and profoundly so. I think it's nice that Russel Crowe wanted vengeance for losing his wife, son and luxurious villa. Spartacus just wanted to die a free man.

And an observation about Ridley Scott's pictorial genius. His set design reminds me of pre-Raphaelite painting knock offs, something one might find on the dust jacket of a "historical" novel. Kubrick's Rome and Roman countryside had the spare lean authenticity of archealogical reality. Scott's silvered, coppered and bronze frames, crammed with "stuff" looked just that - crammed.

And an observation about Scott's action: Does anyone notice that the swordplay and much of the fighting occurs in a blur or blizzard of camera-swishing? Very "Batman and Robin." When Russell Crowe is about to be executed, his escape and table- turning is so swish-panned as to be unseeable. This happens again and again. The defeat of the charioteers in the arena: the coverage is askance and oblique. It lacks the simple integrity and graceful genius of a Jackie Chan move or something Bruce Willis might do or... dare I say, the way Kirk Douglas might handle it. I liked "Alien," I liked "Thelma and Louise." I'm beginning to worry now about the upcoming "Hannibal."