A young man is plunged into a life of subterfuge, deceit and mistaken identity in pursuit of a femme fatale whose heart is never quite within his grasp. Remake of François Truffaut's 1969 film 'Mississippi Mermaid'
Alexander, the King of Macedonia, leads his legions against the giant Persian Empire. After defeating the Persians he leads his Army across the then known world venturing further than any Westerner had ever gone all the way to India. Written by
Horses are shod with modern nailed horseshoes. The most probable horseshoes at the time of Alexander should have been leather and plants "booties" of Asian origin. In the 1st century, Romans used leather and iron "hipposandals". Nailed iron horseshoes seem to have become adopted much later. See more »
Our world is gone now. Smashed by the wars. Now I am the keeper of his body, embalmed here in the Egyptian ways. I followed him as Pharaoh, and have now ruled 40 years. I am the victor. But what does it all mean when there is not one left to remember - the great cavalry charge at Gaugamela, or the mountains of the Hindu Kush when we crossed a 100,000-man army into India? He was a god, Cadmos. Or as close as anything I've ever seen.
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Hard to digest for hoi polloi, but true to history and Greek epic and tragedy
Oliver Stone consulted Robin Lane Foxe, Oxford historian and the premier Alexander expert, before making this film. It shows. The film certainly ranks as one of the closest-to-the-real-story Hollywood historical mega-films. To viewers with any background in Aristotelian drama and the Greek epic, it will immediately become clear that Stone has tried hard to emulate the epic form while integrating the culture of the Greek tragedy into his film. There is plenty of fear and pity here and there are plenty of tragic elements. The aging Ptolemy as narrator even takes on some of the functions of the chorus/choir. Tragic destiny in a larger-than-life man plagued by doubts over his own decisions, his consuming passions, is the universal here; the gripping story of Alexander the historical incidental, as it were. Not surprisingly, characterization and character interaction must loom large. Which explains the numerous and lengthy monologues and dialogues. Bravo, Mr Stone. Those who can appreciate will. But I fear that hoi polloi will not appreciate. They will simply fail to understand. Postscript: If there were any episodes in Alexander's life I missed and would have liked included (at the risk of making this film even longer) it would have been the Gordian Knot and the Oasis of Siwa.
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