300 Critics ignore facts

Again, purists must remember that 300 seeks to bring a comic book, not Herodotus, to the screen. Yet, despite the need to adhere to the conventions of Frank Miller’s graphics and plot — every bit as formalized as the protocols of classical Athenian drama or Japanese Kabuki theater — the main story from our ancient Greek historians is still there: Leonidas, against domestic opposition, insists on sending an immediate advance party northward on a suicide mission to rouse the Greeks and allow them time to unite a defense.

The Spartans fight bare-chested without armor, in the “heroic nude” manner that ancient Greek vase-painters portrayed Greek hoplites, their muscles bulging as if they were contemporary comic book action heroes. Again, following the Miller comic, artistic license is made with the original story — the traitor Ephialtes is as deformed in body as he is in character; King Xerxes is not bearded and perched on a distant throne, but bald, huge, perhaps sexually ambiguous, and often right on the battlefield. The Persians bring with them exotic beasts like a rhinoceros and elephant, and the leader of the Immortals fights Leonidas in a duel (which the Greeks knew as monomachia). Shields are metal rather than wood with bronze veneers, and swords sometimes look futuristic rather than ancient.

~ Victor Davis Hanson, professor of Classics

Unfortunately, unlike Hanson, many reviews of 300 have utterly and completely missed the point.

Here is A.O. Scott of the New York Times

It may be worth pointing out that unlike their mostly black and brown foes, the Spartans and their fellow Greeks are white.

I don't know, they look white to me... are Greeks white? Technically speaking?

Here is Dana Stevens of Slate:

The Persian commander, the god-king Xerxes (Rodrigo Santoro) is a towering, bald club fag with facial piercings, kohl-rimmed eyes, and a disturbing predilection for making people kneel before him.

As anyone with half a brain can see, Xerxes is portrayed nearly exactly as Frank Miller drew him in the comic book.

Andrew Stuttaford of the New York Sun:

But look at the movie a little more closely and the imagery of our current troubles creeps into view, not least in the way some of Xerxes's warriors opt for the Al Qaeda/ninja chic more usually associated with Osama bin Laden's training camps.

A cursory glance at one page of the 300 comic book reveals that the filmmakers very faithfully adapted Frank Miller's visual interpretation, which was published in 1998. Miller is an astute writer, but if he could have anticipated al Qaeda chic that early on, he should have been working for the Pentagon.

Stevens further adds:

The noble and sexy Gorgo finally gives herself to Theron in exchange for a chance to persuade the council.

...which is wrong. In the film, Gorgo gives herself to Theron in exchange for his vote and support, she already had permission to speak at the council.

Let's return to Victor Davis Hanson, the person who holds a doctorate in Classics:

So almost immediately, contemporary Greeks saw Thermopylae as a critical moral and culture lesson. In universal terms, a small, free people had willingly outfought huge numbers of imperial subjects who advanced under the lash. More specifically, the Western idea that soldiers themselves decide where, how, and against whom they will fight was contrasted against the Eastern notion of despotism and monarchy — freedom proving the stronger idea as the more courageous fighting of the Greeks at Thermopylae, and their later victories at Salamis and Plataea attested.

Greek writers and poets such as Simonides and Herodotus were fascinated by the Greek sacrifice against Xerxes, and especially the heroism of Leonidas and his men. And subsequently throughout Western literature poets as diverse as Lord Byron and A.E. Houseman have likewise paid homage to the Spartan last stand — and this universal idea of Western soldiers willing to die as free men rather than to submit to tyranny. Steven Pressfield’s novel Gates of Fire and the earlier Hollywood movie The 300 Spartans both were based on the Greek defense of the pass at Thermopylae.

300, of course, makes plenty of allowance for popular tastes, changing and expanding the story to meet the protocols of the comic book genre. The film was not shot on location outdoors, but in a studio using the so-called “digital backlot” technique of sometimes placing the actors against blue screens. The resulting realism is not that of the sun-soaked cliffs above the blue Aegean — Thermopylae remains spectacularly beautiful today — but of the eerie etchings of the comic book.

If critics think that 300 reduces and simplifies the meaning of Thermopylae into freedom versus tyranny, they should reread carefully ancient accounts and then blame Herodotus, Plutarch, and Diodorus — who long ago boasted that Greek freedom was on trial against Persian autocracy, free men in superior fashion dying for their liberty, their enslaved enemies being whipped to enslave others.