Review of The Epic Film : Myth, Meaning and Mass Entertainment

Posted on by E Curb Nottus
Cinema, Literary & Linguistics, Media & Communications, Popular Culture, Social History

The Epic Film: Myth and History, Derek Elley [re-published 2014, originally published 1984]

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The onset of the 21st century seemed to herald a revival in the epic genre in film. Large-budget “Sword-and-Sandal” movies of the early 2000s such as Gladiator and Troy, labelled “Neo-epic films” by cinema critics, have reinvigorated the genre. At the same time, a new blockbuster phenomenon in the shape of the Lord of the Rings and Harry Potter series of films, padded with wall-to-wall distinguished British (and Commonwealth) actors, have extended the epic genre, and in the case of the ‘Rings’ cycle, given the flagging “Sword-and-Sorcery” sub-genre a new lease of life.

The author’s approach to his subject is a somewhat scholarly one, although the book also remains accessible purely on an entertainment level. Elley begins by making clear the distinction between the heroic and the epic … “heroes alone do not make an epic,” other ingredients especially the “all-important mythic quality” is needed to elevate the narrative to a higher plane, the ‘supra-human’ dimension. The author then proceeds to trace the transition from the epic in its original, literary form to its cinematic form.

The book concerns itself to a large extent with the type of epic film much in vogue in the fifties and sixties, drawn from the history and mythology of antiquity (Greece, Rome, Egypt, Mesopotamia). Right up front I’d have to say that I think that the author is inclined to take the genre a bit too seriously. The epic movie, in whatever phase or incarnation it takes, has been something difficult to be especially serious about! By definition the standard form of the epic has tended to be characterised by an indulgence in excess – grandiosity, vulgarity, basically everything 8XL in size! Mention the epic film and people often think of monumental Hollywood flicks like Ben-Hur, Spartacus, Cleopatra, and the like. Conspicuous consumption the order of the day, so much so so that it could be suggested that epic films should be primarily seen as a kind of parody of themselves.

The Epic Film spends a good deal of time examining another type of epic movie, the Continental Sword-and-Sandal variant of the species which further takes away from the serious side of the genre’s purpose. The “Sword-and-Sandal” as the book points out is also known in the trade as a Peplum movie …from peplos the type of ancient Greek robe or tunic worn by women (as modelled below). Strictly speaking ancient men wore chitons, a lighter, simpler and usually shorter garment than the feminine peplos, but the name ‘Peplum’ stuck for the epic movie!

This sub-genre had its heyday between the late 1950s and the mid 1960, usually set in Ancient Greece or Rome and often filmed at Cinecittà in Rome (for a time the world’s film studio of choice) and/or in the campagna in Italy or Spain. The elements of the genre are well-known and entirely formulaic: heroic but one-dimensional gladiatorial strongmen, a bevy of immaculately beautiful but defenceless heroines in sexy, ultra-mini peplums, a paper-thin storyline appallingly scripted and only coincidentally unrecognisable as history, incoherently edited, low budgets, sloppily shot with atrociously wooden acting and haphazardly dubbed into English.

Footnote: the popularity of the Italian Peplum provided career change opportunities for body builders as many would-be actors like Steve Reeves, Mark Forest and Kirk Morris, made the transition from the bodybuilding game to become leads in Sword-and-Sandal sagas. Interestingly, many of the Italian musclemen-stars took Anglo-sounding names in an attempt to make them more appealing to the American market, thus the well-known Sergio Ciani became on screen the aptly named “Alan Steel”.

Steve Reeves’ phenomenally successful Labors of Hercules (1957) was the springboard for a spate of strongman-centred Pepla. From the mid sixties a number of the Peplum strongmen made the switch to Spaghetti Westerns which spectacularly filled the void when the popularity of the Sword and Sandal costumers began to wane. Spaghetti Westerns utilised the same device of giving its Italian stars American-sounding names, the most famous of which were the ‘Trinity’ duo, Terence Hill and Bud Spencer.

Whilst acknowledging the limitations of many of these B-grade epics Elley soberly proceeds to unearth all manner of meaningful cinematic aesthetics from the likes of Samson against the Moon Men, Hercules and the Tyrants of Babylon, etc, etc. The author describes his text somewhat grandly as an extended essay on defining “the epic form in its filmic context”. The definition in the book that took my eye is attributed to Charlton Heston, “There’s a temptingly simple definition of the epic film: It’s the easiest kind of picture to make badly” (Chuck should have known – he appeared in his fair share of dud epics in his career).

Strongman ‘Maciste’

Elley points out that spectacle is the most characteristic trademark of the epic genre, and that trait is (or was) synonymous with Hollywood. Although we connect the Pepla of that era with Italy and the Continent, we tend to associate the wider phenomenon of epics with America. The author quotes Peter Ustinov to good effect: “I’ve always thought that only the Americans can do Ancient Rome pictures. Both cultures have the same kind of relaxed, rangy pomp. Both have exactly the same kind of bad taste”.

⇧ Transparent marketing attempt to capitalise on the famous ‘Ben-Hur’ chariot race but failing to meet those expectations

The book is adorned with some 88 pictures in glorious black-and-white and these may hold for some readers the greatest interest. Amongst these is a still from the 1964 movie The Fall of the Roman Empire, a long range shot of a Late Roman frontier fortress under attack – complete with a modern Italian villa and two parked fiats close by in the background. Another revealing picture contains a close-up of the cleft-chinned Kirk Douglas as the fabled Ulysses, his heroic countenance somewhat spoiled by the clearly visible but unsightly appearance of Kirk’s varicose veins! Or equally entertaining, is the photo of Victor Mature as Samson, teeth gritted, valiantly wrestling a ‘savage’ lion which has the look of having been recently rejected by a local LA taxidermist.

Many of the era’s epic films that came out of Hollywood tend to be prone to snatches of excruciatingly bad dialogue. The book provides a wealth of atrocious quotes from the genre. Savour if you will these little vignettes which run the gamut from overblown dramatic(sic) intensity to inane absurdity:

“When you speak of destiny, this is something I must at last believe” (delivered with exaggerated emphasis), Genghis Khan, in Genghis Khan (1965).

“Love and hate are horns on the same goat”, Rune woman, in The Vikings (1958).

“At one time, when you were a little fella, you were always asking questions!”, Joseph, to Jesus, in The Greatest Story Ever Told (1965).

This last line of dialogue, tinged with more than a touch of folksy mid-western Americanism, could easily have rolled from the mouth of failed actor-turned-US president, Ronnie Reagan, whilst whittling wood on the back-step of his Californian ranch.

By focussing on 50s and 60s Hollywood and Italian epics Elley largely neglects the first resurgence of the Sword-and-Sorcery film which took place in the late 70s and early 80s … the Star Wars cycle, Excalibur, Conan the Barbarian, etc (all made before The Epic Film‘s original publication in 1984). Other (admittedly minor) sub-genres of the epic such as the Sinbad saga films (The Seventh Voyage of Sinbad, Sinbad and the Eye of the Tiger, and so on) and the Swashbuckler/Pirate films don’t get a guernsey at all … although the Sinbad movies could just as well be categorised as adventure-fantasy films, rather than strictly Sword-and-Sorcery ones.

Elley’s study of the epic film genre is informative and instructive in so far as it goes. Ancient Greeks and Romans, Biblical figures, barbarians and Norsemen, all get a good run, but Elley’s historical survey cuts off at the end of the Dark Ages. I’m left with a tinge of regret that he didn’t take a more expansive approach in the book to include the grand and occasionally grandiloquent epic movies made about legendary Britons of a later era like Arthur and Robin Hood, as well as the more modern epics like Lawrence of Arabia or Dr Zhivago and even extend it to examples of the genre as diverse as 2001 a Space Odyssey and Planet of the Apes.

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Marsha Hunt, Actor and Lifelong Social Activist: Not your Average Hollywood Role Model

Posted on by funambulator@live.com
Biographical, Cinema, Politics, Society & Culture


Marsha Hunt – film star with a social conscience


 I’ve always thought it absurd that the average punter in the street raises up movie stars (whether it be Hollywood or any other derivative film community) to the status of demi-gods (as they do with pop and rock stars and elité sportspersons). Yes I know that it was ever thus, film stars in the silent era were arguably even more venerated by society given that at that time they did not have to compete with popular singers and sporting stars for the public’s kudos.


 The media is of course deeply complicit in this with its obsessive focus on Hollywood box-office stars, especially the popular gossip mags’ hanging on every utterance and info snippet of headline-grabbing Hollywood A-listers like George Clooney, Angelina Jolie and Brad Pitt – a custom which is jejune and banal in the extreme. If these overblown ‘celebs’ make even a shallow pronouncement on environmental or human rights issues or announce their latest Third World orphan acquisition projects, this receives an inordinate amount of drooling media attention.


 This ultra-reverence is ridiculously inane given that the great majority of movie stars are not necessarily exemplars of propriety and moral rectitude, and sometimes behave like pampered prima donnas in their overweening self-centredness. Proportionate to the rest of society, movie stars often behave badly, they have equally-manoeuvrable morals, they take drugs, they drink too much and beat their wives, extravagantly waste money, are unfaithful, get divorced (disproportionately to society at large in this case!), they are after all only actors! And yet media outlets continue to elevate them to the loftiest reaches of societal respect, as if some special higher wisdom is implicit in their trade.


Notwithstanding all this, there have been films stars and actors who do merit the very highest accolades for their principles and unselfish activism in the devotion to the betterment of humankind. Sadly, these actors, and their achievements, are usually not well known by the public at large, or certainly not as well known as they should be! One such American actor I want to mention in this context is Marsha Hunt. Marsha (born Marcia Virginia Hunt – not to be confused with the African-American singer and novelist also named Marsha Hunt) is still alive at 96 years-of-age, going on 97, and compared to the lavish praise heaped all-too-easily on some celebrities, is pretty much an unheralded hero, even in her homeland. Chicago-born Hunt commenced acting in Hollywood films as a teenager in the mid-1930s. As she tried to establish herself as a leading actress in films, at the same time she committed herself to the support of liberal causes in an America that was becoming alarmingly and increasingly illiberal.

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 Despite the risks to her professionally, Hunt was prominent in the Committee for the First Amendment⌺ in support of the ‘Hollywood Ten’ (screenwriters and directors ostracised for alleged pro-communist activities). At the onset of McCarthyism, as the US lunged savagely to the Right, Hunt with other liberal Hollywood figures petitioned US Congress to overturn the iniquitous ideological witch-hunt of liberal and progressive Americans in the film industry. Hunt was also active during WWII in the Hollywood Anti-Nazi League.


 Consequently she was ‘outed’ by the McCarthyists in ‘Red Channels’ (a right wing publication blacklisting suspected ‘subversives’ in the arts and media) and her burgeoning film career suffered accordingly❀. Hunt was a gifted actor, and an accomplished singer. She was also the composer of about 50 songs including one she wrote in the early 1960s, ahead of its time, on the subject of same sex equality in love and marriage – later a hit in the US in the 1980s.


 In 1944 she was voted one of the Hollywood ‘Stars of Tomorrow’. However, like others in the industry who refused to recant their earnestly-held political convictions, roles for Hunt dried up. First she was relegated to B movies, then not even that and her film career was effectively over by the time she was 40. From the ’50s, Hunt, like many other Hollywooders including Ronald Reagan (180 degrees apart from her politically) found TV work her only reliable source of income and expression.


 Peacenik, social activist
Marsha Hunt, friend to all Democratic presidents from FDR on, was and still is an activist with a capital ’A’. Outside of acting Marsha has pursued a concern for a host of vital humanitarian issues on the global stage—pollution, poverty, peace and population growth—as well as actively working against the blight of social homelessness and supporting the right of same sex equality. Hunt has never lacked for courage or for determination in anything she has done. She was active in the Civil Rights Movement in the 1960s. The 2014 film documentary, Marsha Hunt’s Sweet Adversity, illustrates the 60-plus years (and ongoing) of active international work (world hunger campaigns, a staunch supporter of the United Nations, UNICEF and other UN humanitarian projects, etc) by a woman known to admirers as a “Planet Patriot“.

MVH at 95


 Today despite her great chronological seniority she is as committed to and active in the causes of ordinary people as she ever was! Marsha is still in her own principled way making a difference for the planet. Marsha Hunt, talented actor, indefatigable activist, world citizen, a refined woman of principles, a great humanitarian and advocate for universal civil rights – a truly great American.

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 ⌺ Hunt is the only surviving member of the Committee for the First Amendment

 ❀ whilst other, more illustrious Hollywood liberals abjectly backed down in the onslaught of HUAC bullying, Hunt was one of the very few ‘Tinseltown’ stars to put her film career on the line by refusing to apologise for her support of the blacklisted ‘Ten’ and for her role in progressive activist causes