Humanized Troy

I really feel that this film is the peak of Pete's appearance. This is the first and only time I have gotten him handsome. When she debuted, she was pulled up by a messenger from the bed of two women to challenge and then jumped to kill the enemy. His figure exploded into the sky. That kind of transition from laziness to fierceness. After winning the duel, he looked down on the audience but when he heard political words. The reaction of leaving nonchalantly shows the characteristics of this character in the film. Achilles’s character is much better than in the myth. Not only is he brave and good at war, but he also values ​​love and righteousness. He is gentleman to women and enemies. He asked Pleven and Briseis to leave with the remains of the prince. There was a feeling of "the hero should be like this". The decisive battle with Hector was very burning. This absolute highlight did not disappoint. The classic line "There are no pacts between lions and men" was done well by the actor and his momentum was held. This line and the chariot insulting the corpse after the decisive battle showed Achilles’ beastly side. Afterwards, he caressed the body and wished Hector’s rest in the spirit of heaven. This is a more humane side. I think I have a good grasp of it. Yes, the character was successfully portrayed in the film. He and Briseis are my favorite pair of CPs in the film, from sex and conquer to true love, they are very emotional.

There is no need to say Hector. The actor is handsome and well-acted. He has gathered all the advantages of a positive character. If Achilles represents passion, then Hector represents responsibility. In contrast, the role of Paris is more inferior. After losing a duel with Menelaus, holding his brother's leg to call for help, it was too useless. In the original book, he was very spine at this time. The actor's performance was also mediocre. There was a scene of a Trojan watching the battle. When Hector was stabbed to death, Paris was shot close-up, and he didn't see any emotions. Pleven's acting skills in the same scene are quite brilliant. He stood on the wall and witnessed the death of his eldest son and the moment when he entered the enemy camp alone and asked for Hector's body can be included in the most moving parts of the film. The family affection in the film is actually very deep. The brotherhood of Hector and Paris, and Pleven's father-son relationship with Hector and Paris. For the former, he can go to the enemy to beg for mercy, for the latter. Happiness he can fight against all over the city, pity the parents of the world. The identity of the god Setis has been downplayed. Her interaction with Achilles is more like a mother than a god, which I like very much. Pleven is the same, his image is more like a father than a king.

The scenes in this film are very beautiful. There are many real shots. Most of the military's visual inspections are real group performances, unlike some other movies that only make a few gestures and the rest are all synthesized by computer. There are several fights (such as the duel between Hector and Achilles). It is obvious that each move has been carefully designed with a lot of effort, and the excitement is full. The costumes are unexpectedly good. This kind of Greek retro style can easily become primitives if you are not careful. On the contrary, the movies are quite textured and can also highlight the handsomeness of the leading actors. The shape of the Trojan horse is very good. In the film, Odysseus was arranged to accidentally see a soldier playing with a toy Trojan horse, thus obtaining the inspiration of the Trojan horse siege. The design of this detail is very aura. The role of Odysseus's role as a borderline seems to be to promote the plot, but the length of the movie cannot be understood by so many characters. Finally, I will talk about Helen. I have no impression of the soul of the Troy War. I only remember a bunch of people saying that she is not beautiful enough. I think she is very beautiful. Playing Helen is not against the peace.

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