Gladiator Screenshot

In this scene we have an over the shoulder shot.  We see Maximus who looks out across this field.  The scene plays up this field and road, suggesting there is somewhere to go.  The road suggests there is somewhere Maximus must travel. He touches the wheat, which represents what he has grown, perhaps the fields of his homeland.  This scene is also vaguely blue, signifying its otherworldly/illusionary role as part of Maximus's dying visions.  Far in the background are his wife and son, who he dreamed of seeing again.  Indeed, this scene represents him having finally returned to the home he has always wanted to. 

Revised Abstract: "Quo Vadis" Review

Thesis: Quo Vadis is a good movie in terms of its visual symbolism which connects several underlying themes of the film. 

First Body Paragraph: Nazi Imagery/Parallels

1. The Praetorian Guard wear black robes and have a salute that is reminiscent of the Gestapo
2. The Triumph
   a. has all the spectacle of a Nuremburg rally
   b. When Nero views the Triumph the scene is framed like photos of Hitler viewing his armies
   c. The common people have for Nero the same hero worship the Germans had for Hitler after he came into power
        i. "We worship you"
       ii. Woman holding up baby to see the emperor
3. Nero burning Rome = Hitler burning down the Reichstag and blaming the Communists to increase Nazi party's popularity
4. The persecution of the Christians and their eventual death in the arena parallels the Holocaust
   a. Poppaea's bull is black, representing both the Romans and the Nazis; his death foreshadows that of both Nero and Poppaea

2nd Body Paragraph: Cinematography

1. Nero
   a. Close up of Nero playing the lyre while Rome burns has Satanic imagery
        i. Framed by glowing red flame, the gold wreath he wears due to the shot’s angle looks pointed, giving an impression of horns
   b. Nero’s final scenes are framed in shadow, suggesting his morality
        i. When he runs into the palace his wreath falls off his head but he does not retrieve it
       ii. His death is similar to that of Hitler, who committed suicide as the Allies overran Berlin
2. Scene Transitions
   a. Scene of Marcus complaining about how he was unable to charm Lygia --> Lygia asking God for forgiveness for being “tempted” by Marcus
   b. Peter speaking to the Christian meeting about his time with Jesus, which is transposed with visuals of that particular event, including one modelled after Jesus’s Last Supper

3rd Body Paragraph: Characters

1.  Lygia embodies Christian values and usually wears pink and blue and wears lavender in the arena
   a. Pink: traditional color for femininity and also stands for romance
   b. Blue: stands for loyalty
       i. Gold stars on her dress possible reference to the stars Jews wore in Nazi Germany
   c. Lavender: evokes nostalgic/romantic feelings, possibly chosen by Poppaea to mock her
   d. is compassionate and tries to get Marcus to understand her faith 
2. Marcus stands for the Roman empire but is dressed as an ordinary soldier, not the Praetorian Guard, indicating there is more to his character, and wears a red cloak
   a. Red: associated with war, desire, and love
   b. starts out as someone who is not the least bit sympathetic
       i. believes the conquest is the only way to attain peace, doesn't believe in freeing slaves, and "compares taming a woman to taming a horse" (Hollywood's Ancient Worlds)
      ii. Over time becomes humanized as he starts to care about more than just Lygia's looks
3. Nero is often shown in purple and wears a black robe when presenting Neropolis
   a. Purple: stands for royalty
   b. Black: traditional color denoting evil and death
4. Petronius, who is opposed to Nero’s plan, wears the traditional white robes of a senator
   a. White: indicates purity and goodness, relating to Petronius’s undying love for Rome
        i. There is also red on his robes, which is a common color motif for the Romans
   b. Petronius also stands out as one of the few Romans not portrayed as solely evil; his flaws don’t overshadow his positive attributes
       i. Petronius begins, like Marcus, as your average Roman with no regard for human life and is callous in his treatment of Eunice
      ii. However, also like Marcus, Eunice's love starts to humanize him, and with that humanization his love for Rome is also brought to the forefront

Conclusion: The visual symbolism of Quo Vadis elevates the movie to a struggle between the forces of good and evil, with the forces of good triumphant.

Second Paper Abstract

Spartacus is one of the best movies of its kind because of the dynamic story, brilliant acting, exquisite film techniques, and historical knowledge. There is a simple and powerful main story that has many side plots to it. The main story being the struggle of Spartacus and the various side stories deal mainly with the politics of Rome. By having more than one major plot line the audience is given a deeper story and relationship with all of the characters. The actors make the movie powerful, funny, and engaging. This makes the movie serious and emotional yet at times funny. There are scenes that make us laugh, like scenes with Gracchus, and scenes that are more serious, like the burying of a child. The movie also makes strong statements about the role of women and the business of slavery. The movie uses many different shot angles and widths to capture everything from simple conversations to grand battles. The movie also uses editing techniques to do this as well. There are various cuts of close ups to full shots to birds eye angles in the final battle. The film, in comparison to some of the other movies we have watched, is fairly historical. The film accurately depicts roman legions and their battle formations. It also shows realistic gladiator training. All great movies, however, have their faults. Spartacus could use more action, as there is only one major battle shown. The scenery could use some work. There are scenes where the audience can easily tell that the actors are on some set and not in the middle of a forest. Rome itself looks meek by comparison to other toga movies, the buildings are small and there is no grand forum that we are used to seeing in big toga movies. Despite these setbacks, Spartacus is an excellent movie that everyone needs to see twice.

What Makes a Character a Good Character? Quo Vadis Review

There are many different criteria that are used to judge a film only one of which is the accuracy and believability if the characters.  Although the characters are not always considered the most important, often considered lesser than costumes and sets, they are what let the audience truly understand the message of the film.  I will argue that Quo Vardis is one of the best films of its kind due to its portrayal of its complex and differing cast of characters.  Characters that are highlighted through: genuine audience connection, character development, and the humanistic portrayal of characters seen in the film. 

One of the highlights of Quo Vadis is the depth of the connection we, the audience, feel to the storyline and to the suffering of the characters.  The audience is fully invested with the protagonists, so much so that there is genuine emotion expressed when a character is in trouble or in danger. To us, the audience, Marcus and Lygia are as real as we are and we cringe at the horrors they experience.  This genuine connection is due to the fact that Marcus and Lygia operate as people not as characters.  They are not perfect and they don’t always make the right decisions, thus we are able to see some of our selves in all of the characters. 

Another vital part of the characters is the fact that they do not start out perfect.  They change and grow throughout the film.  That way we see them earn their happy ending as opposed to them being granted one.   

The humanistic portrayal of the characters influences many areas of the production including the acting.  In Quo Vadis the stilted manner of acting seen in silent movies is almost completely gone.  What remains is acting that we can connect with and characters that are human to us not alien. 

Although many characters are well crafted that is not to say they all are for instance Poppea is far less than human.  She in fact does seem alien and strange to us.  After all not every character can be well portrayed otherwise who would we have to compare the well crafted to?

Sign of the Cross Abstract

     In this paper I will argue that The Sign of the Cross was one of the best movies in the genre of ancient epic films because of its grand scenes and editing techniques, the use of plot to make a simple but beautiful point, and the complexity and development of the main characters, which creates a film that will engage viewers from any generation.
     The grand scenes and editing techniques used is one thing that makes The Sign of the Cross interesting to watch. This movie was in black and white, but it used shots and editing techniques that engaged the viewer. For example, some editing techniques supported the themes of the film and were very obvious, like the cut from Poppea to the leopards. Some were subtle but brilliantly conceived, like the shot of Marcus's guests through a Roman's hair. The editing techniques also made for dynamic and engaging storytelling, for example Poppea's bath which starts with the shot of a single bucket being filled with donkey's milk. The grand scenes also used editing to engage the viewer. For example, the hundreds of starving lions coming up the staircase and into the arena.
     The Sign of the Cross also uses its plot to make a point. The point of the plot was to show Christian ideals. This might be off-putting to some, but it was done effectively because while Marcus and Mercia represent opposing ideals, their own romance and plot development is interesting to the viewer. For example, the last scene is very simple (especially in contrast to the previous gladiatorial scenes) but made the point beautifully as Mercia and Marcus make their way into the light.
    Finally, the complexity of the main characters and their stories of development also engage the viewer. The viewer wants Marcus to succeed (to convert, or to become a better person), but also roots against him as he shows himself to be selfish and only want Mercia. His conversion to Christianity is sudden but can be seen as yet another example of a seemingly good act only stemming from his desire for Mercia and not for Christianity. The relationship between Mercia and Marcus is unhealthy but interesting to watch the dynamic of. In comparison, Mercia is less of a dynamic character and is not morally complicated, but she offsets Marcus's personality. She is also interesting for the viewer to watch and even identify with because she represents the 'good guy' and is always seen as being a strong woman who stands up for her views and does not give in to Marcus.
     The Sign of the Cross is not without faults. For example, Marcus's sudden conversion to Christianity. This can be seen as problematic because it seemingly goes against his character motivations. However, this is actually an interesting choice and keeps the viewer engaged until the very last second of the film, as well as using this plot line to atone Marcus as a character.
      In conclusion, the use of editing techniques, plot, and characters engage the viewers watching this film no matter what year the are seeing it. It is a story of Christian ideals but one can also focus on the story between the two love interests or see it for a story where a woman stands up for her ideals even in the face of death, with such conviction that a man (with a very self-serving personality) will even follow her.

"Quo Vadis" Review

Quo Vadis is the most immersive, entertaining, and innovative film of its kind because it utilizes amazing sets, creative cinematography, distinct editing, insightful characters, and great costumes to convey its story of love and distress. The sets in Quo Vadis are built with scale in mind, striking awe in the audience and drawing them deeper into the film. Marcus Vinicius’ triumph in front of Nero’s palace is a prime example of this large scale set by the film. The plaza is packed with roaring citizens as they await the presence of their ruler. The palace is a sight to behold, with its massive columns, gargantuan statues, and bright gold accents, adding to the splendor and the immersion of the audience. The power and spectacle of the Romans seethes throughout the massive set, dwarfing the audience in their grandeur and glory. The creative use of camera angles and shots also provides more immersion for the audience. The film follows the pattern of setting up a scene with an establishing long-shot to set the tone and then cuts closer and closer to the action or the character’s dialogue. An example of this is at the very start of the film. The film opens with a long shot of Marcus Vinicius’ legion returning to Rome, and cuts to full-body and close-up shots of the soldiers and slaves. The close-ups further reveal the might of the Romans with their gleaming armor and adorned heads, and the strife of the slaves as they fall dead from exhaustion. These portrayals bring the audience closer to the world of Rome in all its raw glory. The editing in the film also plays a huge role in the entertainment value. The film establishes innovative cuts that create natural transitions between scenes to further its cinematic quality. For example, when Marcus visits general Plautius’ home and meets Lygia, she says she must decorate the table, then the next scene is the dinner table. This type of transition with context in the previous scene provides the audience with a natural flow to the film. Also the use of cross fades in most transitions furthers the natural flow of the film, as to keep the abruptness of straight cuts from pulling the audience from their immersion. The well-developed characters further add to this enjoyable film. Petronius is an excellent character that brings comic relief to the distress of the Christian suffering. His snide comments and answers to Nero’s inquires are phenomenal, as they lift the audiences spirits and take their mind off of the Christians certain doom. The costumes in the film are overall, very well done. The costumes of those of power, Nero and his supporters, are all detailed and accurate. The Roman soldier’s armor, however, looks very cheap and unreal. Appearing to be made of thin painted plastic. Besides the armor Quo Vadis also falls short with its plot. The whole story is basically a mirror of the 1932 The Sign of The Cross, only really differing in the final sequences of the film. While not very innovative the film captures this story better, with more developed relationships and characters, adding to its entertainment value and creating a more believable film. Quo Vadis is a great film in this genre, as it expands on all aspects of character development to cinematography. One should definitely add this to their queue of films if one wants a taste of the Roman ancient world in all of its corrupt glory.

Quo Vadis: One of the Greatest of its Kind (Abstract-Revised)

Throughout time, there have been movies of all types that have become known as the best of their kind. In this paper, I will argue that Quo Vadis (1951) is one of the greatest spectacles of its kind because of its complex plot, exciting action, grandeur, detailed costuming, and spectacular acting.
The plot of the film is quite complex. There is the overarching romantic plot between Marcus Vinicius and Lygia, as well as a few subplots that round out the film while also remaining well connected. The subplot between Nero and Petronius adds a comical level to the film while the persecution against the Christians adds drama and action.
Action is another venue for a film to display its talents. Within Quo Vadis, the action is incredibly intense. In scenes such as those within the coliseum, the audience can’t help but watch as the Christians face a seesaw of death and life.
Within the film, the sets are immense. The triumph scene in particular is extraordinarily large. These scenes are shown through wide establishing shots that highlight the grandeur of the film.
The costuming within the film is magnificent for Lygia, Nero, and Marcus Vinicius. Their costumes are intricately detailed and brilliantly colored. The costuming, however, falls short when it comes to that of Poppaea and the soldiers. Though there may be shortcomings in these few areas, the costuming for the other characters compensates.
The acting within the film is amazing; the talents of Peter Ustinov (Nero) and Leo Genn (Petronius) are impeccable, especially in the ironic scene where Nero receives Petronius’ last words. The same cannot be said, however, for the unchanging face of Patricia Laffan (Poppaea). Her acting is monotonous and shallow. It seems as if her face is always plastered in the same expression. Nevertheless, the renderings of Nero and Petronius overshadow the less well-done portrayal of Poppaea.

The plot, action, grandeur, costuming, and acting all contribute to the marvelous spectacle that is Quo Vadis. And because of these, Quo Vadis can easily be argued as one of the best of its kind.