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Old 03-11-2007, 07:24 PM   #31
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Originally posted by Irvine511
memphis and i are excited to watch the best bodies in Brentwood, CA walk around in speedos and capes with well oiled and waxed pecs, lats, glutes, and biceps and thrust swords into one another and talk about what big strong men they are.

Me too!


BTW, your bf has a really cool name, Memphis.
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Old 03-11-2007, 07:50 PM   #32
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This movie made $70m this weekend!

http://www.deadlinehollywooddaily.co...ed-60-mil-wkd/
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Old 03-11-2007, 08:24 PM   #33
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I'm going to go ahead and merge these. Does that make it 300 X 2="600"
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Old 03-11-2007, 10:55 PM   #34
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Me too!


BTW, your bf has a really cool name, Memphis.


well, it's not his real name, just the city (or, more accurately, the nearest city to his rural farming community) from whence he comes.

i read one review that said it was gay-on-gay violence -- the gym bears vs. the disco queens.

sounds good to me.

(though i'm squeamish with violence -- hopefully this is so over-the-top and silly that i'll just find it funny, like i did with "kill bill")
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Old 03-12-2007, 10:37 AM   #35
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300 Shocker
Hollywood takes a detour to reality.

By David Kahane

Okay, this is weird.

Since about, oh, September 12, 2001, every writer, producer, director, and suit in this town has known one thing to be true: Don’t make fun of our so-called “enemies.”

Don’t stereotype them as bad guys. Don’t mock their beliefs. Don’t even mention their names. And for heaven’s sake, don’t make them mad.

Instead, try to understand them. Celebrate their diversity. And realize that, in a world (as the voice on the trailer intones) in which black is really white, up is really down, an attack is really self-defense and self-defense is really a provocation, we ourselves are actually the enemy.

This made things really easy. Out went any script that ascribed anything but the purest of motives to Arabs, Iranians, and Muslims. Back came everybody’s favorite villains: ex- and neo-Nazis (I haven’t met any, but I hear they’re everywhere) and crazed Christian fundamentalists, lurking out there in flyover country, itching to pull the triggers to establish a theocracy in a country we all know perfectly well was founded by unarmed vegetarian multicultural atheists.

Not even Jim Cameron could get a picture like 1994’s True Lies — in which the current governor of California slaughters hundreds of Arab terrorists single-handedly — made anymore, and he’s the King of the World. Instead, we got things like Kingdom of Heaven, in which the Christian ruler of Jerusalem becomes a hero by surrendering the Holy Land to the noble Saladin.

So now along comes a bunch of schmucks nobody’s ever heard of — graphic novelist Frank Miller, director Zack Snyder, and a couple of other writers — to pull in $70 million over the weekend with a movie about a handful of brave warriors who stand up against the limitless central-Asian hordes, iron men vs. effeminate oriental voluptuaries, and patriots against robotic slaves. How was this picture allowed to be made?

I’m talking, of course, about 300, a gory retelling of the Spartans’ defense at Thermopylae, which has got the whole town buzzing, and not just about its first-weekend grosses. Is it an ode to Riefensthalian fascist militarism? A thinly veiled attack on the Bush administration‘s insane war-mongering? Or is it something else?

Help me out here, because I’m having trouble wrapping my mind around a few things: When, early in the film, a sneering Persian emissary insults King Leonidas’s hot wife, threatens the kingdom, and rages about “blasphemy,” the king kicks him down a bottomless well. And yet nobody in Sparta asks, “Why do they hate us?” and seeks to find common ground with the Persians on their doorstep. Why not?

The Spartans mock the god-king Xerxes (whose traveling throne resembles a particularly louche Brazilian gay-pride carnival float), mow down his armored “immortal” holy warriors clad is nothing but red cloaks, loincloths, and sandals, and generally give their last full measure to defend Greek civilization against superstition and tyranny. Where are the liberal Spartan voices raised in protest against this blatant homophobia, xenophobia, and racism?

The only way this bunch of refugees from a Village People show can whup our heroes is by dangling some dubious hookers in front of a horny hunchback who makes Quasimodo look like Tom Cruise, and by bribing a corrupt legislator to tie up reinforcements with various legalistic maneuvers. When the queen finally kills the councilor, the others call him a “traitor.” Isn’t that both blaming the victim and questioning his patriotism?

You’d think 300 was a metaphor for something…

I heard the other day that one of the creators of this film is… yes, a closet conservative. And now he, whoever he is, is a rich closet conservative.

As screenwriter-god Bill Goldman says, it’s all about the next job. So that noise you hear this morning is the wind created by hundreds of writers from Playa del Rey to Santa Barbara, sticking their fingers in the air to see if the wind’s suddenly shifted, wondering if they can shelve their metrosexual Syriana and Babel knockoffs and conjure up some good old-fashioned “men of the West” material.

Because the dirty little secret is, we used to write these movies all the time. Impossible odds. Quixotic causes. Death before surrender. Real all-American stuff, in which our heroes stood up for God and country and defending Princess Leia and getting back home to see their wives and children, with their shields or on them.

And the dirtier little secret is: We loved writing them. Even a blacklisted commie like Carl Foreman came up with High Noon, in which a lone Gary Cooper defends a town full of ungrateful, carping yellowbellies and then throws away his badge in disgust at their cowardice. Sure, John Wayne hated it at the time, but today the Duke would be doing handstands to get his teeth into a part like that.

But then came psychiatrists and psychologists and Ritalin and global warming and racism and sexism and homophobia and the enlightened among us said the hell with John Wayne and Gary Cooper. Hollywood became one big Agatha Christie novel in the last chapter — you know, the one where the survivors of the homicidal maniac gather in the drawing room and realize: The killer must be one of us!

And then came September 11th and that was that. But now, I’m beginning to wonder.

Beginning to wonder if a $70-million opening weekend for a picture that was tracking at $40 million will get somebody’s attention. Beginning to wonder if a movie that has no stars, the look and feel of a video game, and the moral code of the U.S.M.C. might have something to say, even to audiences in New York and L.A.

But most of all, I’m beginning to wonder what it feels like to be the good guy.
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Old 03-12-2007, 12:05 PM   #36
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no, it's all the gayness, that's why it's so popular.

i'd be way hesitant to read too much into the success of the movie beyond the visuals.
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Old 03-12-2007, 01:45 PM   #37
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I think Gerard Butler is insanely hot, but this movie just doesn't appeal to me. I think one reason it made so much money is that there's not much else out there right now-but I also think many teens must have got in in spite of the R rating. Obviously it's not all that difficult in most theaters.
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Old 03-12-2007, 04:06 PM   #38
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From wikipedia:

Quote:
The film has attracted controversy over the portrayal of the Persians. Greek critic Dimitris Danikas claimed the film showed Persians as "bloodthirsty, underdeveloped zombies," and went on to say, "They are stroking (sic) racist instincts in Europe and America."[62] The president of Iran's Art Affairs Advisory also expressed strong condemnation over the movie which he said insulted the Persian civilization. Javad Shamqadri, who is also a filmmaker, said the film specifically had racist intentions but called the film's effort fruitless however, saying, "values in Iranian culture are too strongly seated to be damaged by such plans."[72]

As in the graphic novel, the Persians are depicted as a barbaric and demonic horde, while the Persian emissary and King Xerxes are depicted as androgynous. This meant to stand in stark contrast to the masculinity of the Spartan army.[73]

Furthermore, the "bad guys" are depicted as black people, brown people, handicapped or deformed people, gays and lesbians. The traitor Ephialtes is played by a hunchback as in the graphic novel; however, historically there is no mention that Ephialtes was a hunchback. [74]
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Old 03-12-2007, 06:50 PM   #39
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Big woop....it's a fantastical action film, if anyone thinks the Persians were really like that it is there own idiocy at work....and I doubt many people at all know that the Iranians are the modern day Persians...
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Old 03-12-2007, 07:48 PM   #40
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It's based on a comic book published in 1998 inspired by the original battle. If they want a historically accurate film, go watch the History Channel.

Comic books are filled with offensive and disturbing images and storylines. One book even has a character murder God. It's fantasy, not reality and most sensible people understand that.
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Old 03-12-2007, 07:58 PM   #41
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Quote:
Originally posted by Irvine511
no, it's all the gayness, that's why it's so popular.

i'd be way hesitant to read too much into the success of the movie beyond the visuals.
here is a painting of the "Battle" done in 1812 (from Wiki)



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Old 03-12-2007, 08:27 PM   #42
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All I know is that after seeing this movie, I have WAY more respect for George W Bush than I used to.

I didn't think he was capable of writing a descent sentence and now he's written a pretty good movie....
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Old 03-12-2007, 08:29 PM   #43
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I find it funny the Greeks found the Persians effeminate because they wore 'trousers'

The Persian army was made up of a whole horde of different races brought together by Xerxes as a show of his might, from the Saka (asiatic peoples), Ionians (Greeks from modern day Turkey), people from Northern India....it wouldn't surprise if the Greeks did view the people assembled before them as monsters in their weird armour and weaponry.

It annoys me that people are trying to attach alterior motives to this film when really there isn't none.
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Old 03-12-2007, 09:34 PM   #44
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An Iranian official on Sunday lashed out at the Hollywood movie "300" for insulting the Persian civilization, local Fars News Agency reported.

Javad Shamqadri, an art advisor to President Mahmoud Ahmadinejad, accused the new movie of being "part of a comprehensive U.S. psychological war aimed at Iranian culture", said the report.

Shamqadri was quoted as saying "following the Islamic Revolution in Iran, Hollywood and cultural authorities in the U.S. initiated studies to figure out how to attack Iranian culture," adding "certainly, the recent movie is a product of such studies."

The movie's effort wound be fruitless, because "values in Iranian culture and the Islamic Revolution are too strongly seated to be damaged by such plans", said the Iranin official.

Shamqadri, who is also a filmmaker, said that production of more domestic and artistic films which portray Iranian achievements is a proper response to movies like "300".
I think he's a bit overboard.
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Old 03-12-2007, 10:25 PM   #45
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here is a painting of the "Battle" done in 1812 (from Wiki)



why, that looks just like a typical saturday night on 17th street in DC!
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