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when I see this plot device early in a movie, someone with a vision (or dream or hallucination) I tend to see the rest of the movie as what's in that vision. For me the center of the thing is the early scene where the oracle is consulted. In fact there are three distinct architectural structures here made of bodies, and many others large and small made of living men.
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Here we emphasize the flying bodies, body parts and blood which quite literally become architectural. Mel then sorta borrowed them for his own battle epic, including the early scene where he lops off a head. This, if you follow such things, was developed by Peter Weir in "Gallipoli," starring a then new Mel Gibson. I will admit that some of the these teams gave me great satisfaction, some of them in the actual battle scenes where the speed-shifts worked to emphasize the mapping of comic panels into reality. Its inevitable I suppose, when the computer work is so massive it has to be parsed out to creative teams distributed all over the world, and they have nothing better to go on than a comic book. I felt actually as if I were defending myself from some of them as they came at me just as the different components of the Persian army attacked the 300 hooting bodybuilders. But there are distinct visual styles here, too many to integrate. And it does have a story, actually two though simple, they span the thing and stitch pieces together. It's tied together by a consistent score, mixed of heavy metal and aeolian voices. But that "struggle" is over issues as remote from this as swimsuits are from locomotives. (Later, the Alexandran Macedonians, the Greeks of today, destroyed the by then corrupt and fragile Persian empire and all its great libraries and histories, torturing the collected scientists to death, in what has to have been the greatest and most brutal setbacks of civilization ever.) So the resonances with today keep oscillating in a strange and stimulating dance between the intended admiration of these thugs we are meant to feel as the west, and those of Islam. Even the Nazi association is reversed, the Medes were the Aryans, the Spartans essentially African, and no longer extant in today's Greece. And the Spartans were the thugs, the warlords who oppressed and terrorized their neighbors, building a state based on pillaged wealth.
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That's because the history is that the Persians (the Achaemenids were actually Medes, more like Afghans are today) were the great world-builders of the era, creating less a totalitarian state than a federation of free states that flourished by trade not terror. The elixir of admiration for the west snapped to Zoroastrian soma more often than not. Yes, indeed, sometimes this slipped for me into the opposite of what it was intended to purify.
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Tactical stubbornness leading to defeat is somehow celebrated, I suppose, coming very close to the 72 virgins bit.
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Flying blood droplets is supposed to somehow validate combat expertise. Deliberate deprivation of young boys is supposed to somehow instill valor. It allows us to take a very few indicators and suppose a world. They are so simple and extreme, these notions of how the world is abstracted through one eye. Presumably you as a viewer will make the association I did the with the demigods of Olympus, so artificial and childlike are the notions this narrator presents. The title refers to "the good friend" character who gives a memorial speech at the end, presenting the legacy that grows to fantastic proportions on its way to us as narrator whose words are from another planet.