Attila (TV)
This production follows the life of Attila the Hun (Gerard
Butler), from his origins as a precocious youth to his adulthood
as the fierce, headstrong conqueror. In time, this warrior is
noticed by the Roman empire, who recognize Attila as a potential
threat to the empire. A Roman general, Flavius Aetius (Powers
Boothe) is dispatched to the east to investigate Attila and immediately
takes a shine to him, recognizing his potential as an ally of
Rome. Aetius brings Attila to Rome to "tame" him through
the comforts of civilization. Attila's heart however lies with
his own, and he departs Rome to face Aetius again one day as
they battle each other over the fate of their respective societies.
With Gladiator still fresh in most audiences' minds, trying
to realize a Roman epic on a television budget is not an enviable
task. However, director Dick Lowry does a pretty good job of
it within the budget and content restrictions (though Gladiator
is a considerable influence on the production). The battles are
not as large-scale and bloody as they would have been in reality,
but resourceful staging and framing creates the impression that
opposing armies are actually much larger than they are.
Of course, this production is not quite Ben-Hur, or even
Taras Bulba, but one of the refreshing things about Attila
is that it is not another "noble barbarian vs. corrupt empire"
story. Indeed, Attila as portrayed in the film, is as much a
ruthless opportunist and megalomaniac as he is a hero to his
people. Likewise Aetius, despite his treacherous ways and loyalty
to a totalitarian empire, has aspects of strength and nobility,
and is in many ways the more sympathetic character.
As Attila, Gerard Butler is not especially convincing or charismatic,
coming across more like a Hell's Angel than a man who conquered
half of Europe. Powers Boothe, however, is terrific as Aetius,
in a performance which is dark, brooding and intense. Overall
though, owing to the modest budget, the film fails to give the
viewer a real sense of the scale of Attila's conquests. This
is a man who held sway over vast territories which he conquered
in a very short time. Yet there is little which suggests to the
viewer the full impact of this achievement, and Attila's base
of operations remains more or less the same collection of primitive
huts and tents from beginning to end.
Intentional liberties are also taken. Historic accuracy and entertaining
drama are usually at odds in films, and as usual some apocryphal
spice is added to this brew. Whereas according to tradition Attila
died of a hemorrhage on his wedding night, in this production
he is poisoned by his vengeful bride. Also, the Roman civilization
depicted here has a number of anachronisms. Ostensibly set in
post-Constantine (and therefore Christian) Rome, the film depicts
a decidedly pagan Roman orgy in one scene, which is more typical
of Caligula's reign centuries earlier. The costumes are not always
accurate, with high heels and corsets worn by Roman women. The
score is often little more than a re-hash of Hans Zimmer's music
for Gladiator. Although in many ways imperfect and derivative,
Attila is an entertaining production which sustains the
viewer's interest and is a cut above the average TV production.
Paul Andrew MacLean
© 2001 
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