Agora (C or 2/4 stars)
'Agora' (directed by Alejandro Amenabar, Abre los Ojos, The Others, The Sea Inside) takes place during the waning days of the Roman Empire, & centers on a fascinating historical character, female scientist Hypatia (Rachel Weisz), who lived in Alexandria, Egypt during the 4th century. Daughter of the director of Alexandria's library (holder of all things ancient, & ultimate source of their world order), she was considered a brilliant philosopher & astronomist. Not defined by sexual politics, Hypatia had no husband or lover. Her only passion in life was for 'ideas'. And she was considered - back then - an atheist. The plot begins in the late 300's AD when tensions btwn. Christians & Pagans in Egypt were at an all-time high; setting up an inevitable differing of loyalties & a religious war.
But these religious pressures were set aside early on when in Alexandria's Library, students of all faiths gathered to learn from Hypatia. She taught lessons in astronomy & mathematics, but also had a keen interest in Ptolemy's theory of the solar system & it's planetary orbits (with her discovery that Earth actually revolves around the Sun being the intellectual center of the plot). Howwwever, violent conflicts explode as the Christians are brutally attacked by the Pagans. Some people convert on their faith, but most choose to fight. And the Christians return the favor by smashing through the gates of the Pagan's library; where all the ancient teachings would have been safe. A massacre kills a plentitude of Christians; and the Pagans, who are outnumbered, shut themselves inside the library for safety.
Hypatia is one of the those trapped, & her protection becomes the main concern for one of her students, Orestes (Oscar Isaac), as well as her slave, Davus (Max Minghella); both of whom are in love with her (if that's believed to be true). From this point forward, the narrative slows a bit; unfolding in a somewhat odd (and highly complex - given the religious component) love triangle. And that triangle is put to the test under the weight of Alexandria's violent socio/political/religious upheaval. Chaos ensues again. Blood is shed. And for these 3 main characters, life would never be the same. In fact, the world would never be the same.
I'm saddened that I didn't love this movie; as I've respected & enjoyed Amenabar's former films quite a bit. There are several reasons why 'Agora' didn't work for me, & I'll try to explain myself now. Firstly, Amenabar clearly wanted to tell this story in an old-school Hollywood epic-style. There premise of the film is high-minded. There is scope to the story. There are larger than life characters. The acting itself is fine. The cinematography has flair. The set designs (of ancient Egypt) are beautifully re-created (if quite expensive-looking). The costumes feel authentic. And Dario Marianelli's (Atonement) musical score is pretty good.
However, none of that matters if the story/characterizations are as dead as a door nail. I mean - the topic of philosophy/religion in ancient Egypt sounds fascinating on paper. It's interesting to see how corrupt & contradictory religion can be when the ruling faith is IN or NOT in power. But nothing resonated with me. Portions of the film are dialogue-driven, with philosophical discussions. But the editing of those tedious dialogue scenes is atrocious. Some conversations go on for too long. Some are fleeting & offer nothing to the table, narratively. The battle sequences look hectic & artificial. Hypatia sounds like a riveting, evocative character on paper (legendary female heroine who wasn't defined by sexuality or gender), but Rachel Weisz - while not bad - gives too subtle of a performance for us to get fully invested in her plight. Her discovery of the Earth's relation to the Sun isn't made to be cinematically interesting.
And the minor characters in the story might as well have been cardboard cut-outs. Furthermore, melodrama creeps in & out of the script at the most inopportune of times. So when characters start running around screaming or making boisterous proclamations and we barely know or care who they are, then that is a total failure in my mind. I tried to be involved in this turgid, uninvolving film, but my interest went in & out. Interesting tidbits cross the screen, but nothing comes 'alive'. While I liked this film a little bit better than ‘05's Kingdom of Heaven, I am reminded of that film and feel similarly about its execution – at least that film has a superior Director's Cut.
But these religious pressures were set aside early on when in Alexandria's Library, students of all faiths gathered to learn from Hypatia. She taught lessons in astronomy & mathematics, but also had a keen interest in Ptolemy's theory of the solar system & it's planetary orbits (with her discovery that Earth actually revolves around the Sun being the intellectual center of the plot). Howwwever, violent conflicts explode as the Christians are brutally attacked by the Pagans. Some people convert on their faith, but most choose to fight. And the Christians return the favor by smashing through the gates of the Pagan's library; where all the ancient teachings would have been safe. A massacre kills a plentitude of Christians; and the Pagans, who are outnumbered, shut themselves inside the library for safety.
Hypatia is one of the those trapped, & her protection becomes the main concern for one of her students, Orestes (Oscar Isaac), as well as her slave, Davus (Max Minghella); both of whom are in love with her (if that's believed to be true). From this point forward, the narrative slows a bit; unfolding in a somewhat odd (and highly complex - given the religious component) love triangle. And that triangle is put to the test under the weight of Alexandria's violent socio/political/religious upheaval. Chaos ensues again. Blood is shed. And for these 3 main characters, life would never be the same. In fact, the world would never be the same.
I'm saddened that I didn't love this movie; as I've respected & enjoyed Amenabar's former films quite a bit. There are several reasons why 'Agora' didn't work for me, & I'll try to explain myself now. Firstly, Amenabar clearly wanted to tell this story in an old-school Hollywood epic-style. There premise of the film is high-minded. There is scope to the story. There are larger than life characters. The acting itself is fine. The cinematography has flair. The set designs (of ancient Egypt) are beautifully re-created (if quite expensive-looking). The costumes feel authentic. And Dario Marianelli's (Atonement) musical score is pretty good.
However, none of that matters if the story/characterizations are as dead as a door nail. I mean - the topic of philosophy/religion in ancient Egypt sounds fascinating on paper. It's interesting to see how corrupt & contradictory religion can be when the ruling faith is IN or NOT in power. But nothing resonated with me. Portions of the film are dialogue-driven, with philosophical discussions. But the editing of those tedious dialogue scenes is atrocious. Some conversations go on for too long. Some are fleeting & offer nothing to the table, narratively. The battle sequences look hectic & artificial. Hypatia sounds like a riveting, evocative character on paper (legendary female heroine who wasn't defined by sexuality or gender), but Rachel Weisz - while not bad - gives too subtle of a performance for us to get fully invested in her plight. Her discovery of the Earth's relation to the Sun isn't made to be cinematically interesting.
And the minor characters in the story might as well have been cardboard cut-outs. Furthermore, melodrama creeps in & out of the script at the most inopportune of times. So when characters start running around screaming or making boisterous proclamations and we barely know or care who they are, then that is a total failure in my mind. I tried to be involved in this turgid, uninvolving film, but my interest went in & out. Interesting tidbits cross the screen, but nothing comes 'alive'. While I liked this film a little bit better than ‘05's Kingdom of Heaven, I am reminded of that film and feel similarly about its execution – at least that film has a superior Director's Cut.