Paul Risker looks at Starz's Spartacus and its place amongst the historical epics of the big and small screen...
![Spartacus: Blood and Sand]( "Spartacus: Blood and Sand")
By the time Steven S. DeKnight brought his vision of Spartacus: Blood and Sand to the small screen in January of 2010, the story of Spartacus’ revolt against the might of the Roman Empire and its legendary war machine had both been told and re-imagined.
The story was told none so famously as in Stanley Kubrick’s Spartacus (1960), and re-imagined forty years later in Ridley Scott’s Gladiator. To look beyond these two filmmakers, the story of Spartacus’ uprising and his part in the Third Servile War against the Republic has been an influential force on storytellers, spanning literature, film and television. In this latest incarnation DeKnight offers his take on this legendary, yet ambiguous figure. If the list of stories available to storytellers comprises a short list, then DeKnight was treading old ground before he had even begun.
Beyond a story of blood, sex, violence; beyond a story of the clanging of sword against sword, and sword upon shield, Spartacus represents for Robert G. Tapert and Sam Raimi - two names of significance from the world of horror, action and fantasy - the arrival at the gates of Rome following a long trek through the ancient world.
Back in 1995, on the newly launched terrestrial station Channel 5, UK viewers were introduced to two new ancient world dramas: Hercules: The Legendary Journeys and Xena: Warrior Princess. Tapert and Raimi’s interest in the ancient world extends back eighteen years, in which these two creative minds who gave audiences “The ultimate experience in gruelling terror” and “The sequel to the ultimate experience in gruelling terror” – The Evil Dead I and Evil Dead II– executive produced both shows, with Tapert co-creating Xena: Warrior Princess, whose wife Lucy “Xena: Warrior Princess” Lawless who stars in husband Tapert and pal Sam Raimi’s latest foray into all things ancient.
![Rome]( "Rome")
Of the television dramas of note, there remains a fascination with Ancient Rome. In 1976 there was the classic BBC series I, Claudius starring Derek Jacobi, John Hurt and Brian Blessed. More recently we had HBO’s Rome (2005). But even after the success of Rome, it still felt as if the historical ancient world drama’s homes remained on the big screen in theatres. One must inevitably question just what legacy Spartacus will leave behind?
Despite having only recently concluded and with the complete collection box set out today – or now depending on when you are reading this - it is almost unthinkable to exclude it from discussions pertaining to the historical epic. In hindsight Rome was the spark and Spartacus the explosion for removing the exclusivity film has held over this genre.
Not without a certain sense of irony, the cinema’s historical epics and the television medium have an intertwined history.
Back in 1958, the historical drama was perceived as an extravagance, and its heyday having passed Hollywood had begun to phase out these productions, though some would still be produced such as Ben Hur (1959), Spartacus (1960) and of course The Fall of the Roman Empire (1964) which would bankrupt the studio (Samuel Bronston Productions). This decision may well have been based on the low box office grosses. This “Golden Age of Television” saw theatre attendance drop, television presenting a new challenge to the film industry. After all, why would audiences go out to the theatre when entertainment was now transmitted directly into their homes?
The historical drama however remained at home on the cinema screen, helped by classics such as Ben Hur and Spartacus, and as late as 2000, Ridley Scott’s Gladiator re-ignited film’s love for the ancient world with the release of Oliver Stone’s Alexander and Wolfgang Petersen’s Troy both in 2004; a year before HBO would premiere Rome.
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Whilst Spartacus is distinct in look and feel to the more polished films of Scott, Petersen and Stone, it has proven easy to dismiss for the incorporation of its provocative elements. These however serve a purpose of drawing the attention of an audience. Theatre productions with full frontal nudity will ensure at least one person before, after or during the intermission will cite it as the reason for the increase in turnout. Fifty Shades of Grey’s whirlwind success derives from its story about the sexual relationship between two people, and even The Tudors and The Borgias with a glance into the seedy lives of our ancestors have piqued the interest of the audience.
Spartacus is no different in its incorporation of these themes to lure the audience’s interest, featuring in all its glory bloodcurdling violence, absurd and graphic imagery of violence with plenty of eye candy for both male and female viewers. Though if you look beyond this you will see that there is something more at work; a gravitas to the dialogue as the show matures, and an emotional weight and heart as it evolves into a character study.
Yes, the aforementioned tropes may intrigue us, but the shows hook is the creation of characters that compel us to offer our sympathy and invest our interest in watching as they move towards their pre-ordained destiny. Unless the creator and writers choose to rewrite history, there is only one way for this particular story to end.
Steven Soderbergh recently discussed how television narratives offer greater potential for the exploration of the human condition through the show’s characters. So, Spartacus whilst retelling a familiar story in fact offers a more expansive exploration of the characters and events than the limitations of film permitted Kubrick. Time can be spent on the various stages of Spartacus’ journey, affording an opportunity to become more deeply immersed in this world, story and its characters.
The creators and writers exhibit the awareness of one common truth in storytelling: that the hero is ever only as strong as the villain. From John Hannah’s Batiatus, to Simon Merrells Crassus, Spartacus is offset against a strong villain, compelling us like so many of the rebel slaves to become junkies in his crusade against his masters and Rome.
Spartacus: War of the Damned is out on DVD today.
Paul Risker is co-editor in chief of Wages of Film, freelance writer and contributor to Flickering Myth and Scream The Horror Magazine.
The story was told none so famously as in Stanley Kubrick’s Spartacus (1960), and re-imagined forty years later in Ridley Scott’s Gladiator. To look beyond these two filmmakers, the story of Spartacus’ uprising and his part in the Third Servile War against the Republic has been an influential force on storytellers, spanning literature, film and television. In this latest incarnation DeKnight offers his take on this legendary, yet ambiguous figure. If the list of stories available to storytellers comprises a short list, then DeKnight was treading old ground before he had even begun.
Beyond a story of blood, sex, violence; beyond a story of the clanging of sword against sword, and sword upon shield, Spartacus represents for Robert G. Tapert and Sam Raimi - two names of significance from the world of horror, action and fantasy - the arrival at the gates of Rome following a long trek through the ancient world.
Back in 1995, on the newly launched terrestrial station Channel 5, UK viewers were introduced to two new ancient world dramas: Hercules: The Legendary Journeys and Xena: Warrior Princess. Tapert and Raimi’s interest in the ancient world extends back eighteen years, in which these two creative minds who gave audiences “The ultimate experience in gruelling terror” and “The sequel to the ultimate experience in gruelling terror” – The Evil Dead I and Evil Dead II– executive produced both shows, with Tapert co-creating Xena: Warrior Princess, whose wife Lucy “Xena: Warrior Princess” Lawless who stars in husband Tapert and pal Sam Raimi’s latest foray into all things ancient.
Despite having only recently concluded and with the complete collection box set out today – or now depending on when you are reading this - it is almost unthinkable to exclude it from discussions pertaining to the historical epic. In hindsight Rome was the spark and Spartacus the explosion for removing the exclusivity film has held over this genre.
Not without a certain sense of irony, the cinema’s historical epics and the television medium have an intertwined history.
Back in 1958, the historical drama was perceived as an extravagance, and its heyday having passed Hollywood had begun to phase out these productions, though some would still be produced such as Ben Hur (1959), Spartacus (1960) and of course The Fall of the Roman Empire (1964) which would bankrupt the studio (Samuel Bronston Productions). This decision may well have been based on the low box office grosses. This “Golden Age of Television” saw theatre attendance drop, television presenting a new challenge to the film industry. After all, why would audiences go out to the theatre when entertainment was now transmitted directly into their homes?
The historical drama however remained at home on the cinema screen, helped by classics such as Ben Hur and Spartacus, and as late as 2000, Ridley Scott’s Gladiator re-ignited film’s love for the ancient world with the release of Oliver Stone’s Alexander and Wolfgang Petersen’s Troy both in 2004; a year before HBO would premiere Rome.
Spartacus is no different in its incorporation of these themes to lure the audience’s interest, featuring in all its glory bloodcurdling violence, absurd and graphic imagery of violence with plenty of eye candy for both male and female viewers. Though if you look beyond this you will see that there is something more at work; a gravitas to the dialogue as the show matures, and an emotional weight and heart as it evolves into a character study.
Yes, the aforementioned tropes may intrigue us, but the shows hook is the creation of characters that compel us to offer our sympathy and invest our interest in watching as they move towards their pre-ordained destiny. Unless the creator and writers choose to rewrite history, there is only one way for this particular story to end.
Steven Soderbergh recently discussed how television narratives offer greater potential for the exploration of the human condition through the show’s characters. So, Spartacus whilst retelling a familiar story in fact offers a more expansive exploration of the characters and events than the limitations of film permitted Kubrick. Time can be spent on the various stages of Spartacus’ journey, affording an opportunity to become more deeply immersed in this world, story and its characters.
The creators and writers exhibit the awareness of one common truth in storytelling: that the hero is ever only as strong as the villain. From John Hannah’s Batiatus, to Simon Merrells Crassus, Spartacus is offset against a strong villain, compelling us like so many of the rebel slaves to become junkies in his crusade against his masters and Rome.
Spartacus: War of the Damned is out on DVD today.
Paul Risker is co-editor in chief of Wages of Film, freelance writer and contributor to Flickering Myth and Scream The Horror Magazine.