After settling his differences with a Japanese P.O.W. camp commander, a British Colonel co-operates to oversee his men's construction of a railway bridge for their captors, while oblivious to a plan by the Allies to destroy it.
In 73 B.C., a Thracian slave leads a revolt at a gladiatorial school run by Lentulus Batiatus (Sir Peter Ustinov). The uprising soon spreads across the Italian Peninsula involving thousand of slaves. The plan is to acquire sufficient funds to acquire ships from Silesian pirates who could then transport them to other lands from Brandisium in the south. The Roman Senator Gracchus (Charles Laughton) schemes to have Marcus Publius Glabrus (John Dall), Commander of the garrison of Rome, lead an army against the slaves who are living on Vesuvius. When Glabrus is defeated his mentor, Senator and General Marcus Licinius Crassus (Sir Laurence Olivier) is greatly embarrassed and leads his own army against the slaves. Spartacus and the thousands of freed slaves successfully make their way to Brandisium only to find that the Silesians have abandoned them. They then turn north and must face the might of Rome.Written by
In his autobiography, Kirk Douglas admitted that he replaced Anthony Mann because he felt he was "too docile", especially for the powerful actors dominating the cast. He added, "He seemed scared of the scope of the picture." See more »
In the last century before the birth of the new faith called Christianity, which was destined to overthrow the pagan tyranny of Rome and bring about a new society, the Roman Republic stood at the very center of the civilized world. "Of all things fairest," sang the poet, "first among cities and home of the gods is golden Rome." Yet, even at the zenith of her pride and power, the Republic lay fatally stricken with a disease called human slavery. The age of the dictator was at hand, ...
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The six main cast members are accompanied by an item that represents their character (a chain, a Roman eagle, a wine jug, a couple of hands - one wielding a snake, and a sword). See more »
The film premiered at 202 minutes. However, the prints from the premiere were lost in the 1970s when Universal threw out all the film's tracks, outtakes, additional prints etc. (This was parallel to 'John Landis'' claim during his work on creating the director's cut of The Blues Brothers). The Criterion Collection has 4 minutes of lost scenes involving the Gracchus subplot:
1.) After the first senatorial meeting scene, Gracchus and Caesar walk around the market discussing the dirty tactic of fishing votes. (Shown in production-still form)
2.) Gracchus commits suicide by slitting his wrist in the bathtub. This occurred immediately after he closes the curtain near the end of the film. Only the audio track was found in the studio vault.
As most are undoubtedly aware this is the film that the director virtually expunged from his repertoire. But why did Stanley Kubrick really disown SPARTACUS (1960)? The answer can be summed up in two words: absolute control. Kubrick wanted total administrative as well as artistic authority over the making of the film about a revolt of gladiators and slaves in ancient Rome.
But you will notice that Bryna Productions not only financed SPARTACUS but also an earlier film directed by Kubrick, PATHS OF GLORY (1958). Bryna was Kirk Douglas' film company and, as most filmgoers know, he was the star of both films. Besides having all the money to make the films, Douglas had artistic vision as well. Only three weeks into what would prove to be an incredibly complex and arduous production, Douglas fired venerable director Anthony Mann (RAW DEAL, RAILROADED,THE FURIES, THE NAKED SPUR, THE MAN FROM LARAMIE, MAN OF THE WEST, etc.) from SPARTACUS. With only two days notice, Kubrick was hired to replace him.
Shooting PATHS OF GLORY, Douglas had confined his criticisms and objections to Kubrick's failed rewriting of the script (they went with the original screenplay). Douglas' complaints and artistic influence were far greater on SPARTACUS, much to Kubrick's chagrin. Though the director craved autonomy over every aspect of the film, Douglas would not budge. A tense compromise was reached but ultimately Douglas had the last word. Kubrick saw himself as just a hired gun. And he would never allow himself to be placed in this position again.
Later, both men would complain about the film's outcome and each other. They never made another movie together.
But SPARTACUS is no uneven patchwork of divergent ideas. The film is cohesive and arresting. At the restored version of three hours and eighteen minutes, there is practically no dead footage in the film. Dalton Trumbo's screenplay is surprisingly economical, with sharply drawn characters placed against the sweeping historical majesty and violent sociological tumult of ancient Rome. Quite plainly, the gloriously inventive music by Alex North is among the greatest scores ever written for a motion picture. And despite Kubrick's bad experience, he managed to guide the actors towards creating outstanding work (a best supporting actor Oscar for Peter Ustinov). He even transformed the very real enmity between Laughton and Olivier into an on-screen asset. His other contributions were considerable also (the large scale and power of the battle sequence, for example). In the end, for the film at least, the clash of giant egos proved fortuitous. Recommendations: for greater insight and detail on this and Kubrick's other films I urge you to seek out Jan Harlan's excellent documentary, STANLEY KUBRICK: A LIFE IN PICTURES, and Vincent LoBrutto's exhaustive, highly informative biography, STANLEY KUBRICK. For the producer's views on SPARTACUS and its director, take a gander at Kirk Douglas' very candid autobiography, THE RAGMAN'S SON.
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