Attila (2004) Dick Lowry   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

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