Tom Gregory's Hollywood Vault radio clips, as featured on Leeza Gibbons' national radio program Hollywood Confidential!
Below is a transcript of the review on the audio file playable above.An advertising blitz before the release of “300”, boasted the film would change the style of move making forever. With a worldwide take of over three hundred million dollars, this film has more than altered movie making; it has made an aggressive society more violent.
It centers on a romantically embellished 2500-year-old battle involving pride, honor, and all things holy to men and the good women and loyal countrymen who dutifully support their troops.
These stylishly mannish fighters head out bravely, from the mystical, amazing-looking wheat fields of Sparta.
Color is the art of 300. It’s a Wyeth-dry brush-masterpiece-meets-40’s Technicolor, look. - So many rich tones of crimson and flesh! I was just happy to see the early Spartans had such nice white teeth and Polio vaccinations.
Conspicuously devoid of sword-proof vests, they hold their heavy iron shields and spears high, ready to kill, fight, and conquer in the name of god, country, and of course, freedom.
I’m here to report, when I went to see the film at the crowded theater, the wide-eyed spectators cheered – audibly cheered. Each time another arm, leg, or head went flying through the air, the audience applauded in giddiness for more squishy, brutal aggression. The filmmakers shoved it generously upon every seat in the theater. Blood, body parts, retribution - for something - poured out from the screen like a tsunami, soaking everyone that came there to witness bloody, brutal butchering.
“300’s” leading man in violence itself. It’s an illegal alien sneaking across the blurry border between art and politics.
“300” cashes in on America’s anger against something, and it leaves the viewer hyped up and angrier. My question is, “what are you so angry about?” A thinking person, who wants a fuller, richer happier life, proudly stands up to walk out of this film, while the hardened mob blindly stands up to cheer.
Film is worldwide. It is borderless communication. It is art. We must be careful what we are saying to each other, and what we are teaching children and reinforcing in ourselves. The realties of man’s brutal violence should be depicted to enlighten, not entertain. The producers are the Exxon of filmmaking, not raising conscientiousness, but counting their profits. I commend them on their riches, but convict them for their crimes against the beauty of life.