1. Write a detailed review of one of the
films we have watched so far. The review should discuss the film in the context
of its genre, the toga film, focusing in particular on features (e.g., plot, acting, cinematography,
editing, music, sound, scenery) that
make the movie of your choice stand out, either positively or negatively,
compared to some or all of the other examples of the genre that we have watched.
2. In addition to your own
observations, make sure to consult and use at least two scholarly
sources that talk about your movie!
Please post a copy of your abstract below and comment on the abstracts of two different classmates, suggesting either evidence from the movies that would support their argument or alerting them to evidence that would seem to run counter to their argument so that they will have to respond to it in their papers.
Olivia Monical
ReplyDeleteGreek and Roman History in the Movies
Due October 16, 2012
A Funny Way to do a Toga Film
A Funny Thing Happened on the Way to the Forum stands out when compared to many other Roman Toga Films. It displays aspects of Roman society that are not usually shown, while challenging or making fun of recurring themes or stereotypes in films about Rome.
In A Funny Thing... a female character is physically strong and desirable at the same time, contrary to most of the depictions of women in films the class has watched. The prostitute Gymnasia is beautiful and favored by Pseudolus, showing her desirability; simultaneously, she uses a spear to save Pseudolus from a gladiator. The only women that the class has seen fight are the Amazons in the arena in Sign of the Cross, who were unattractive with frazzled hair and contorted features.
A Funny Thing also plays with men's roles. The male characters are caricatured by their most unattractive features, making them laughable. For example, Hero is weak because he can not get the girl he wants without help, unlike Marcus in Quo Vadis who strongly pursues Lygia.
Another unique quality of the film is its use of roman plays about the lower class to add themes that are less common in sword and sandal films. The Braggart Soldier's boastful Pyrgopolinices is the inspiration for Miles Gloriosus, the ridiculously masculine and prideful soldier. Domina and Senex were also inspired by a play: In Casina, the married couple Cleostrata and Lysidamus portrays a female dominated relationship.
Another aspect of A Funny Thing's concentration on the lower class are non-traditional slave characters. Pseudolus is not only the main character, but also completely different than a slave is expected to be: he is conniving, disobedient, resourceful, but ultimately able to gain freedom without violence. This film is unique when compared to many other toga films.
You may want to prepare a counter argument proposing why females like Philia are desirable, but also so ditzy and clueless. Also, do you want to limit your discussion on the women in this movie to simply depicting them as "physically" strong? I think a great example of a mentally strong woman would be Domina, even if the movie doesn't show her physical attributes.
DeleteOlivia, I love that you remembered the frizzy-haired Amazons as the only fighting women we have seen so far! They indeed represent quite a contrast to Gymnasia.
DeleteI agree with Alyssa that you may also want to talk about the types of women that "Funny Thing" presents, and how they compare with the women we usually see in toga movies. Domina, for example, is a matrona like the Princess of Hur, Judah Ben Hur's mother, but obviously very different from her, starting with the way she treats her slaves and ending with her libido.
Your discussion of the humor in the roles of Miles Gloriosus, Pseudolus, and the other men will similarly benefit the more detailed comparisons you bring to bear. For example, the Captain is a wonderful parody of all the military leaders that the other toga movies idolize.
Those are great ideas! Thanks for the help
Deletenice abstract! you could also use the family's eunuch hysteria as an example of playing with male dominated roles, and also all the cross dressing in the movie.
DeleteThe female protagonists in the four films Spartacus, A Funny Thing Happened on the Way to the Forum, The Sign of the Cross, and Quo Vadis are all similarly characterized as innocent and docile, their identities defined by their status as virgins. However, in the 1951 production of Quo Vadis, the character Lygia is able to break out from this stereotype to a greater extent than the others and attains a higher state of independence, both as a slave and as a woman.
ReplyDeleteLygia is first seen on screen lighting candles, a menial job that Marcus Vinicius immediately assumes is an indicator of her status as a slave. This expectation is instantly dismissed though and Lygia is established as a royal hostage, which automatically elevates her above the other female characters in the other films of this genre. Her status as royalty contrasts that of Verinia and Philia, who are both slaves, as well as Mercia who is the adopted daughter of a simple merchant.
In addition to her status, she is also able to evade gender-based oppression through constant vigilance and through her unwavering faith in Christ. Although she is eventually forced to choose between her God and Marcus, Lygia is able to decide for herself and therefore is able to determine her own priorities in life. The other female characters are not as fortunate in their respective movies, as all are forced into life styles and left without the luxury of choice.
The film Quo Vadis differs from the other three films through its portrayal of Lygia as both the innocent virgin as well as the independent female. She defies the stereotypes that surround her and is able to escape the constraints of both gender and class, persisting beyond the norm and attaining a new level of freedom.
I think a helpful example to prove that Lygia has broken from the stereotype is her disgust when Marcus describes his feats in battle. Marcus is definitely shocked when Lygia admits that she doesn't appreciate the "ugly stories of conquest and bloodshed" that Marcus has to offer. Not only do her Christian beliefs resonate in this scene, but it is always clear that Lygia doesn't change her views to gain approval from Marcus.
DeleteThe independence and self-confidence that Lygia shows do make her character special, but then, as you yourself say, she's really a princess and a royal hostage, and the family of Aulus Plautius has never treated her like a slave. This makes it even more strange to me that she manages to fall in love with the first man she encounters that treats her like a slave.
DeleteIn a way, isn't it much more amazing that the British slave woman Varinia (sp!) in "Spartacus" manages to preserve her dignity, even though she is constantly being treated like chattel?
I like the idea of Lygia gaining her strength and independence through her faith. In Christianity (ideally) she is treated as equal to men and that helps her maintain her dignity internally although the Romans want to treat her as a slave because of her status as a hostage. Her religion is seemingly unwavering which plays a major role in how she gains strength internally. Her strength for the majority of the movie is similar to Cleopatra's. They both are suppressed by men due to their gender so they are forced to be free internally. Lygia breaks this at the end by being able to choose what she wants for herself.
DeleteMervyn LeRoy’s adaptation of Quo Vadis is an excellent film that I would recommend due to its intriguing plot, commendable portrayal of Christianity, realistic actors, a visually appearing set design, and elaborate costuming.
ReplyDeleteThe plot is far more captivating than the plot of its predecessor, Sign of the Cross. For example, Petronius suggests to Nero that his poetry would be vastly improved if Nero were to witness a great fire, and much to the audience’s horror and delight, Nero decides to create “the pulsating purity thee is in fire.” The audience can now actually understand the circumstances that induced Nero to make such wild choices.
The movie is also accomplished in its delivery of Christian ideals. While movies like Ben Hur would establish that Christianity had many followers, Quo Vadis actually explains the beliefs and goals of Christians. Ursus declares that “in our faith, it is a sin to kill,” proposing an idea very contrary to typical Roman beliefs. The beliefs of Christians are also greatly explained in a speech by the apostle Peter.
There are many memorable actors in the movie. Particularly, Nero, played by Peter Ustinov, does an excellent job of demonstrating Nero’s unfavorable characteristics, but also showing his humanity. Petronius, played by Leo Genn, is portrayed as insightful, humorous, and loyal to his nephew Marcus.
The set design of the film often serves to imply the meaning of each scene. For example, Nero’s palace is portrayed as magnificent with many marble pillars, silky curtains, and patterned floors. In turn, Nero’s power and incredible amount of materialism is demonstrated.
The costumes of the aristocrats in Quo Vadis are very incredible. Nero looked elegant throughout the movie, clad in magenta robes with gold stitching. Meanwhile, Petronius and Lygia maintained more simple costumes.
In contrast to other films that attempt to portray ancient Rome, Quo Vadis can be commended for the thoughts put into its plot, ideas of Christianity, actors, sets, and costumes.
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Alyssa, I really like that your abstract really sounds more like a review and less like a dry academic paper. I hope that the others will similarly start with something like: "I think this movie is fantastic because ..." or "XYZ movie is a wonderful spectacle and an absolute must-see because..." I also like that you talk about the casting. I hope you flesh this part out a little more, of course, and maybe compare, for example, the two Neros and the different evil guys (Tigellinus in "Quo Vadis" "Sign of the Cross" and others in other movies, e.g., Messala in "Ben Hur".)
DeleteI also agree that "Quo Vadis" does a much better job communicating Christian beliefs and ideals than several of our other toga movies with Christian messages. You may want to mention, though, that Paul's sermon is, of course, modeled after the Sermon on the Mount that shows up, e.g., in both "Ben Hur" movies and even quotes part of the New Testament Sermon on the Mount, and if you want, you can even compare it to its secular version in "Spartacus", where Spartacus also addresses his followers from the top of a mountain and explains his credo.
I like the point you made about Ursus. I think you could extrapolate well on how he is big and strong but represents the inner strength that is valued in Christianity. He is a colossus that could be rich and famous as a gladiator, but he is true to his faith and refuses to kill. The only time he does kill is when he is trying to protect Mercia because it is his job and he has come to love Mercia as almost a daughter.
Delete*Lygia* not "Mercia"
DeleteI don't know if anyone else noticed this or wants to use it, but when Alyssa talks about Nero's clothing it makes me think of the fact that he wears some shade of purple in every single scene except for when he overseas the first day of the arena entertainment- he wears red (showing that the blood is on his hands). I don't know if this might be helpful in your review of costumes, but it's just something I thought might be important!
DeleteVery neat, Olivia!
DeleteCollin, I also like your remarks about the gentle giant Ursus. His gentle nature is, of course, part of a stereotype. One could think, for example, about Maciste playing with Cabiria or the huge, bald-headed former prison mate of Simonides in "Ben Hur" (1959), the guy whose tongue the Romans have cut out. and who gently carries the old man to bed. What's different in "Quo Vadis" is that his gentleness is explained and motivated with his faith.
Deletesomething you could say for the plot being better in Quo Vadis than in Sign of the Cross is how they develop the relationship between Lygia and Marcus, as opposed to Mercia and Marcus
Delete“A Funny Thing Happened on the Way to the Forum” is a comedy placed during the reign of Nero in the Roman Empire. Unlike many of the “toga” films this movie follows the story of the slaves and lower class of Rome rather than those of the emperors, senators and leaders of the army. This film also displays certain aspects of Roman civilization in a much different light than other films about Rome.
ReplyDeleteAlmost all films taking place in Rome, follow the story’s of military and government figures, most commonly the emperor. “A Funny Thing is one of the few that does not along with the films Ben Hur, Spartacus, and Cabiria. Though how the film displayed the government and army is much different than any other film.
From the way the Roman army and leaders are depicted to the way citizens dress, “A Funny Thing” is unlike any other film. The citizens do not fear the army; in fact they are seen throwing tomatoes at them as they march down the street. Sexism in other films can be more or less apparent, but no film compares to “A funny Thing’s” blatant and hilarious sexist comments.
“A Funny Thing” differs from all other Roman films, not only because it is a comedy, but because it is a satire of those films. Meaning that the film has to be over the top to blatantly make fun of them. This is what makes up for many the differences between this film and many of the others, and also where most of the jokes from the film stem from.
What makes a funny thing different than other “toga” is a combination of the costumes, the acting, the plot. All of which stem from the fact that the film is a satire on the other Rome films.
Kieran, I agree that Funny Thing is different because it's a satire and is therefore hard to compare to other toga films because of the sardonic nature of the film. Just don't forget to compare to other films!
DeleteGreat point about the fact that the civilians are openly apposed to the Romans in this film! Don't forget to mention the fact that this movie is not necessarily genuinely sexist- that is makes fun of sexism, compared to movies like the early Ben Hur where Esther's character is pretty sexist and fills roles that were more expected of women in the time the movie was made.
DeleteI like how you isolate A Funny Thing through its satirical nature. However, your point that most of the other films follow the military and government figures might be a little hard to prove, as the story of Judah Ben Hur is followed and he takes on the role of a slave for a large portion of the movie, the story of Spartacus focuses on his position as a slave, and Cabiria focuses on characters such as Maciste and Croessa, who are both slaves.
DeleteJill is right to point out that especially the movies that show us Christians (and of course, Spartacus) feature lower-class people in leading roles (e.g., the two "Ben Hurs", "Sign of the Cross", "Quo Vadis"), but even "Cabiria" gives us glimpses of regular people, such as the slaves who escape from Batto's house and the owner of the Pub to the Blue Monkey.
DeleteStill, "A Funny Thing" differs from all the other movies in that we don't see any noblemen at all. In a way, that makes the luxury in which Domina and Senex live even more outrageous. Moreover, the movie tries its best to show us Rome from its shabby side. It is set in a "less fashionable suburb of Rome", flies are everywhere, and the most elegant locale is the neighborhood brothel!
Quo Vadis is one of the best films ever made in the “toga” genre. Most movies about ancient Rome tends to deal with one of two major themes; the dominance of Rome or Rome’s fall in relation to the rise of Christianity. Quo Vadis (1951) deals with the latter theme in a compelling and memorable manner. This film tells the story of a Roman Commander who falls in love with a young Christian girl, but their love is forbidden by the evil emperor Nero. Quo Vadis is one of the best films about ancient Rome due largely to its superior acting, costume styles, and scene lighting.
ReplyDeleteThe acting style of Quo Vadis was far beyond that of Roman movies before. There was a sense of believability that brings the viewer in and keeps them focused on what is happening on screen. The characters feel like genuine people who could really have the feelings that they are acting out. The most notable advancement in acting (partially aided by the extended story line of Quo Vadis) is the shift from the ending of Sign of the Cross when Marcus Superbus unrealistically is suddenly willing to die with Mercia for her and her faith. The only character who lacks an improvement in acting is Poppaea.
The costumes in Quo Vadis play a crucial role in helping viewers easily distinguish between which characters are good and bad. Quo Vadis uses red and black to differentiate between the brave and noble Roman soldiers and the corrupted Praetorian Guard who are ruled by Nero. Poppaea wears the color green for a large part of the movie which is congruent with the idea that she is “green with envy” for Marcus.
Finally, the lighting and color brings the entire film to life. Technicolor was a relatively new invention and it helped bring scenes to life. The different colors and lighting techniques helped highlight where the focus of the shot needed to be.
Collin, I agree that Quo Vadis was one of the best films we've seen and your points on how the acting was so much better. Nero was awful in such a good way! I think you have good evidence but i would suggest adding a few more movies to compare with since you only referenced sign of the cross and that is essentially the same movie (just not as good) as Quo vadis.
DeleteCollin, you are right that pretty much everyone in "Quo Vadis" acts well, except the actress playing Poppaea (Patricia Laffan).
DeleteThe plot, though, seems more conventional to me: kind-hearted girl makes rough male hero see the light and change his ways. Isn't that basically what we see Mercia do with Marcus Superbus in "Sign of the Cross" and Esther with the impetuous and hateful Judah Ben Hur in "Ben Hur" (1959)? [It's different in the 1925 original, by the way: there Ben Hur drops the sword when Jesus tells him, with the Gospel of John, "my kingdom is not of this world", etc.]. In a way, that's the also the story of Cleopatra and Marc Antony, when he goes native, except this time the change the woman effects in the man is portrayed as positive.
Regarding the color and lightning, I'm curious what you'll come up with and I hope you'll talk about this in much more detail than here in the abstract.
Abstract
ReplyDelete“A Funny Thing Happened on the Way to the Forum” is wildly different from other movies in the “toga film” genre. In this paper I will argue that “A Funny Thing Happened on the Way to the Forum” breaks the stereotypes about Roman film through the comical remake of famous movie scenes, musical score, and vivid sets and costumes.
“A Funny Thing Happened on the Way to the Forum” remakes famous movie scenes such as the bath scene, use of exotic animals, and the chariot scene. Movies such as “Cleopatra”, “Ben Hur” 1959, “Spartacus”, “The Sign of the Cross”, and “Quo Vadis” all contain a variation of the bath scene, however “A Funny Thing” bath scene provides a new approach using both men and women in the scene to provide variety. Movies such as “Anthony and Cleopatra”, “The Sign of the Cross”, and “Quo Vadis” all use exotic animals however “A Funny Thing” makes fun of these movies by having a llama with the African American dancer and having the horse in a sweat box with Hero. “ A Funny Thing” also pokes fun at both the 1927 and the 1959 “Ben Hur” movies with the chariot scene.
“A Funny Thing Happened on the Way to the Forum” is also set apart from the other movies we watched because of the musical score. Where other movies just have the musical score running throughout scenes “A Funny Thing” is a musical and features both singing and dancing. The musical score is used as a point of comical relief through the use of songs such as “Lovely” with Philia and Hero, “Everybody Ought to have a Maid” with Senex, Pseudolus, Hysterium and Lycus, and “Lovely” (reprise) featuring Pseudolus and Hysterium.
The costumes in “A Funny Thing Happened on the Way to the Forum” are vividly bright and well put together. Although they are often stereotyped in the case of the exotic dancers the costumes are more modern and provide for a better viewing experience. In addition nearly all the movie takes place in the two houses, Senex’s and Lycus’s this is more historically accurate than previous movies.
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Cassie, I really like how you reference the bath scene and that both men and women are shown bathing which switches up the gender stereotypes previously seen in other movies. For extra evidence, you could talk about how A Funny Thing further makes fun of the stereotypes in other films through their use of colors in the costumes, such as Philia wearing white, Domina and her husband (can't remember his name) wearing purple, and the evil captain sporting black armor.
DeleteI'm also interested, Cassie, in what you have to say about the bath scenes. What I notice is that other movies show the bath as a place where male Roman aristocrats hang out and hatch political intrigues, or as a private place of luxury and seduction, as with Poppaea's bath in "Sign of the Cross", Cleo's bathroom in "Cleopatra" 1963 where she enjoys a massage next to a little pool when Caesar enters unannounced, and Crassus' bath in "Spartacus" where he tries to seduce his new slave Antoninus. "Funny Thing" has more bath scenes than any other movies (Hero and the mare in the sweat bath, Senex trying to bath off the mare's sweat in his neighbor's house, and the prostitutes being bathed in Lycus' brothel), and they are all over the top and poke fun, I think, of the usual bath scenes.
DeleteWhen you talk about the music, I hope you also mention in "Always Look at the Bright Side of Life", which is just as incongruous and humorous as most of the musical numbers in "Funny Thing."
DeleteSpartacus, directed by Stanley Kubrick and starring Kirk Douglas, is a movie about a slave named Spartacus. The movie details the slave revolt he starts in a gladiator school that quickly evolves into a thousand-plus man army. Throughout the movie there are excerpts showing what the politicians in Rome are doing about the revolt. Through comedy relief, music, scenery, and female roles this movie stands out from others in the toga genre
ReplyDeleteAn interesting about Spartacus is the comedy relief in the movie. At some points it can be unexpected. For example, one moment in the movie, Spartacus is reunited with Varinia. Romantic music starts playing, while Spartacus and Varinia embrace each other. Spartacus asks Varinia how she escaped Batiatus. Varinia tells Spartacus that she had jumped out of the cart and Batiatus was so fat that he could not catch her. All of a sudden they start laughing.
Something else different about the movie Spartacus is the music. In one scene Varinia and Spartacus share a tender moment, with soft and sweet music in the background. In the next scene the gladiators are shown in training, with loud and war-like music in the background.
Spartacus differs from other movies in the scenery as well. In this movie, we see more of the country side. Usually in other movies in the toga genre the scenery tends to be of the Roman cityscape, to showcase the splendor of the Roman Empire. Since Spartacus’ is on the slaves of the empire, rather than on the empire itself, this makes sense.
Varinia also lends a hand in making this movie unique. Usually in movies of the toga genre, the women we see are either powerful and prissy, or sweet and submissive. In Spartacus, Varinia achieves the middle ground. She’s sweet and caring, but also able to assert herself. This can be seen in how she had escaped Batiatus on her own, instead of being rescued.
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Another piece of evidence that you could use is when Varinia reveals to Spartacus that she is pregnant and tells Spartacus that she is not a fragile woman but can take some man handling.
Deletei hope it's okay to use the phrase man-handling in my essay
DeleteI don't have a problem with that phrase. Seems appropriate. ;-)
DeleteThe music for "Spartacus" (by composer Alex North) is definitely worth talking about in more detail. You can get a start by looking at this (http://en.wikipedia.org/wiki/Spartacus_(film)#Music), but you clearly should look into this in much more detail, if you love the music. The biography of Alex North by Sanya S. Henderson would be a great start: (http://www.worldcat.org/title/alex-north-film-composer-a-biography-with-musical-analyses-of-a-streetcar-named-desire-spartacus-the-misfits-under-the-volcani-and-prizzis-honor/oclc/489041333). And make sure to also have a look at Martin Winkler's volume "Spartacus" (2007), which we have in the library.
ReplyDeleteOf all of the films made in the ‘toga’ genre, Quo Vadis is the best one I’ve seen so far. In almost every case Quo Vadis builds upon past films of the genre and surpasses them in quality.
ReplyDeleteThe actors in the movie are all across the scale in terms of skill and believable portrayal of their character. There are those like Peter Ustinov (Nero) and Leo Genn (Petronius) who are scene-stealers in every sense of the phrase, executing their roles with grandiose detail but also fine subtlety. In contrast, there are those such as Patricia Laffan (Poppaea) who appear as just another bland 50s actress who plays the same role over and over but in different costumes. Her performance as Poppaea doesn’t come near that of Claudette Colbert in Sign of the Cross (1932).
The plot of the film is based on the novel of the same name by Polish author Henryk Sienkiewicz, which uses “compelling stories from early Christian tradition and [merges] them with well-known and verifiable episodes from Roman history” (Cyrino 2005: 17) to tell the story of Nero’s insanity, burning of Rome, and persecution of Christians. However, there is also the love story which appears to be at the center of the film. Though it is fictional, it is used to place more emphasis on the tragedy that it occurring, similar to the just-as-fictional romance in James Cameron’s Titanic (1997). Even though Marcus and Lygia are not historical characters, Nero most certainly is, and to the trained viewer that is who Quo Vadis is truly about. The dialogue that Peter Ustinov so eloquently delivers allows the audience to follow Nero’s insanity through the events that end with his death.
There is no doubt that Quo Vadis is a spectacle of a film. In almost every category it perfects the toga genre. Some actors might not be entirely up to scratch, but this only serves to further emphasize Ustinov, and that is by no means a bad thing.
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I would suggest either taking out or spinning to your advantage the point that Patricia Laffan is a bland actress it doesn't further your point and is much like a counterargument to yourself.
DeleteCassie is right that Laffan's substellar performance would seem to contradict your thesis. On the other hand, though, it is a matter of intellectual honesty to discuss also features that don't seem to agree with your thesis. In fact, it may become necessary to modify a thesis if it can't accommodate something like her lackluster acting.
ReplyDeleteIn Evan's case, though, I'd say that he has given himself a way to accommodate even some less than positive aspects of the movie by saying that "Quo Vadis" surpasses the other movies we've seen "in almost every case". This gives him an opening to discuss the few exceptions that he needs to mention too in order to provide a fair and balanced review rather than an unpaid commercial for MGM and this movie.