“Spartans! Ready your breakfast and eat hearty… For tonight, we dine in hell!”King Leonidas
Fittingly nominated for QuickView #300, Zack Snyder’s sophmore feature marked the first of many comicbook-inspired movies and remains arguably his best. 300 is less a film adaptation of Frank Miller’s graphic novel than a translation — Snyder would develop a range of visual techniques to emulate the source material, including its dichromatic palette of red and gold, shot almost entirely on digital backlot with only two practical sets. Even Snyder’s trademark overuse of slow-motion seems fitting here, where he is literally recreating panels of Miller’s art. Although based on the Battle of Thermopylae, this is overtly fantasy rather than history, narrated by a Spartan soldier with the purpose of mythologising events. This explains the one-sided perspective that garnered criticism for painting the Persians as barbaric mystics (often monstrously disfigured) whilst the Greeks are styled as the discliplined defenders of rationality and freedom (conveniently ignoring that Sparta was built upon a slave class that is never shown). The cast is filled with character actors able to bring stage skills to empty digital backlot sets; though many are now household names, most were not at the time immediately recognisable faces. 300‘s focus is not the reality of war but a pulse-pounding hypermasculine depiction of battle, cartoonish crimson sprays barely slowing its improbably muscular heroes, who are clad in little more than loincloths, capes, and more underlying homoeroticism than a Top Gun volleyball game. Like much of Zack Snyder’s work, 300 is undeniably style over substance but that is less of an issue here, where the source material was likewise unburdened by depth. When there is this much style, deployed creatively in ways we had never seen before, that can be satisfying in itself.