A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Based on Kubrick's pictorial for Look Magazine (January 18, 1949) entitled "Prizefighter," "Day Of The Fight" tells of a day in the life of a middleweight Irish boxer named Walter Cartier, ... See full summary »
In 73 BCE, a Thracian slave leads a revolt at a gladiatorial school run by Lentulus Batiatus. The uprising soon spreads across the Italian Peninsula involving thousand of slaves. The plan is to acquire sufficient funds to acquire ships from Silesian pirates who could then transport them to other lands from Brandisium in the south. The Roman Senator Gracchus schemes to have Marcus Publius Glabrus, Commander of the garrison of Rome, lead an army against the slaves who are living on Vesuvius. When Glabrus is defeated his mentor, Senator and General Marcus Licinius Crassus is greatly embarrassed and leads his own army against the slaves. Spartacus and the thousands of freed slaves successfully make their way to Brandisium only to find that the Silesians have abandoned them. They then turn north and must face the might of Rome. Written by
In order to put actor Woody Strode in the right mood for the scene where he and 'Kirk Douglas' wait to do combat, the director had the actor listen to a Prokofiev concerto during the filming and got the visual response he wanted. See more »
A map of Italy can be seen in Spartacus' camp tent (it is prominently featured in the scenes involving the pirate emissary), which is far too accurate for the times of the movie. See more »
In the last century before the birth of the new faith called Christianity, which was destined to overthrow the pagan tyranny of Rome and bring about a new society, the Roman Republic stood at the very center of the civilized world. "Of all things fairest," sang the poet, "first among cities and home of the gods is golden Rome." Yet, even at the zenith of her pride and power, the Republic lay fatally stricken with a disease called human slavery. The age of the dictator was at hand, ...
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The opening titles appear in a montage of silhouetted Roman sculptures and tablets, which according to title designer Saul Bass is meant to evoke the strength and power of the Roman Empire. The montage ends with a zoom into the eye of a crumbling Roman bust, which hints at the Empire's coming decline and fall. See more »
Spartacus or How I learnt to live away from Hollywood
This is Kubrick's farewell to Hollywood. I would have liked to be a fly on the wall. I don't believe for a minute that it was a cordial parting of the ways. I mean, Kubrick never returned, never! With "Paths of Glory" Kubrick gave Kirk Douglas, not just his best part as an actor, but his best movie. By the time Douglas called Kubrick to "take over" "Spartacus" Douglas was already a huge star with too much saying in the matter. Look at it, it's clear. "Spartacus" is more Douglas than Kubrick. Great fun to watch, yes, absolutely. A terrific script by black listed Dalton Trumbo. Some fight sequences unequalled in the history of film. Look at the fight between Douglas and Woody Strode and compare it to the ones in "Troy" or "Gladiator" for that matter. It is sad an embarrassing to realise how low we've fallen. Computer generated images or not. The cast is unbelievable but it's clearly not Kubrick's. The casting of his movies was part of his master plan. He would cast a Ryan O'Neil as Barry Lyndon for instance so he can blend perfectly with the magnificent tapestry, without adding any colours of his own. The same can be said of Keir Dullea, in 2001, a robotic non entity in a showdown with a voice. When he needed actors to be at the very pinnacle of his universe he went to Peter Sellers, Malcolm McDowell or James Mason. Even the casting of Tom Cruise made a lot of sense. He used the star and his wife to talk about the dreamlike powers of betrayal. In "Spartacus" Tony Curtis, plays Antoninus, a teacher of the classics. A campy idea never seen in a Kubrick film, before or since. To be fair, there are some spot on, brilliant pieces of casting. Charles Laughton is, as usual, superb. Peter Ustinov, terrific. Laurence Olivier manages to give a multifaceted portrait of weakness, fear and greed. Jean Simmons makes the reason to survive totally believable. But the cutesy love scene between her and a shiny muscular, coiffed Spartacus is truly terrible. As a final blow, the scene is enveloped in a sticky, corny music theme. Having said all that. Don't you dare missing this epic. I'ts Kubrick's goodbye to Hollywood and like everything else that the master said or do, he really meant it.
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