Scipio Africanus: The Defeat of Hannibal
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The second volume in the CREATORS OF THE AMERICAN MIND series, NAT TURNER: CRY FREEDOM IN AMERICA provides both primary and secondary selections that give students specific knowledge of this important individual in American history.
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Customer Review: an introduction to an intriguing historical figure
If you are looking for a brief introduction to this intriguing figure in American history, _Cry Freedom_ could be it. It includes portions of most of the important literature regarding Turner, including the full text of his ‘confession’ to Thomas Gray. However, one must be careful. The book has attracted very little attention in the academic community. Moreover, there are several errors, and it fails to come to a proper conclusion. Use it as a ’spring-board’ for further research, but if you want the definitive collection of documents on Turner’s rebellion, obtain a copy of Henry Irving Tragle’s _The Southampton Slave Revolt of 1831_.
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Scipio Africanus: The Defeat of Hannibal
Customer Review: A Fascist Adventure!
The scene where the Carthaginian queen drinks the cup of poison has to be the most glamourous death scene in film. Eventhough it wasn’t made in Hollywood it probably defines the decadent/femme fatale motif that is Hollywood. It’s almost ritualized the way she takes up the cup — very Kenneth Anger and very Salome. The rest of the film is a sight as well. For students of history, political science or anyone with a fascination with fascism should watch this movie. The constant Roman salutes and brandishing of the fasces are absolute propoganda spectacle! Oh, and the elephants are actually getting butchered.
Customer Review: VICTORIAM AVT MORTEM
“Victory or death!” This is one of the principal themes of Carmine Gallone’s 1937 film: a superb work in which its collosal production is carried by a brilliant direction, a clever screenplay, a tight script, and good acting. The film is also unprecedented in terms of its incredible historical detail. Released in 1937 and backed by Mussolini’s government, this film was the most expensive Italian production of its time with 30,000 extras, 6,000 horses, and 50 elephants. The cinematography is excellent and parallels Reifenstalh’s contemporary works under the Nazi regime in Germany. Unlike German propaganda films of that time however, this film is rather unintrusive in terms of propaganda and carries no racist ideology such as with Goebbels’ films: the historical setting is simply conducive to fascist Italy’s ideology of restoring the nation to the level of its glorious Roman past as desired by Mussolini.
The film is presented from Scipio’s point of view and covers the last part of the Second Punic War where Hannibal retreats from Italy to Carthage with haste to defend his home and fight the final battle of Zama. Hannibal is presented as an honorable foe who, like Scipio, is bound to follow his destiny and serve his nation no matter what the cost. Political intrigue arises when Hasdrubal’s daughter, Queen Sophonisba, uses her seductive charms to coax her Numidian husband Syphax and his rival Massanisa to fight the Romans. The level of historical detail is probably the most faithful than any other film on Roman history. All of the clothing, architecture, military equipment and tactics are presented with exact accuracy. The legions are shown with the proper uniforms, armaments, and tactics of that period. The tactical maniple formations are shown as opposed to the cohort formations of the Late Republic. The quinquireme galleys were produced to exact scale and made fully functional: they also include the innovative hooked and swiveling boarding ramp (corvus) used during that time. The battle scene of Zama is the most impresive and graphic ever presented in a film on antiquity using 50 elephants and replicated at 1/10 the scale with 30,000 actors. The battle scene is extremely graphic even in comparison to modern films with some very violent close quarter combat. This is probably not a film for animal lovers as, unfortunately, some of the elephants were speared and butchered to add realism to the film: Mussolini felt that historical realism outweighed the lives of these poor animals. The English script, written and dubbed in 1937 by an American company, is also outstanding and as stoic as the speeches recited in Livy’s histories on the wars with Hannibal.
Some of the downsides of the film are antiquated acting techniques in which some of the actors are still using theatrical methods prevalent in silent films which don’t really work well with sound films. As a result, some scenes come out as over-dramatic, particularly in the minimal romantic subplots which are fortunately and short and sparing. Shortcomings aside, the lavish sets and cinematography are stunning and remained unmatched until later period films such as ‘Cleopatra’ and ‘Spartacus.’ As a matter of fact, one can see that both Mankievicz and Kubrick were heavily influenced by Gallone’s direction and camera work along with the grandiose sets in this film. This is simply an outstanding film that completely outclasses the later and atrocious ‘Hannibal’ with Victor Mature. This is an excellent film that is a fine addition to any film lover’s collection: particularly for those who are Roman history buffs or scholars of fascism and 20th century propaganda.
On a final note, contrary to the previous reviewer E.R. Curry’s claims, the Roman salute is anything but a fascist invention of the 20th century attributed to Ancient Rome. Jaques Louis David portrayed the Roman salute in his 1792 painting “The Oath of the Horatii” showing the legendary Roman Horatii brothers saluting their father with the Roman salute as they go to war. This painting was completed over 200 years before socialism, fascism, or film ever existed. Fascist ideology in principle seeks to apply the Roman concept of the dictator to modern times in which one’s full allegiance to the needs of the state is imperative above everything else. It is akin to Cincinnatus accepting his appointment as dictator and leaving his farm to fulfill his sworn patriotic duty no matter what the sacrifice may be. The Nazi or fascist salute is therefore a revivance of what was thought to be the original Roman salute as portrayed in David’s painting and other classicist or neo-classicist works of art. Although no one can be certain as to when the Roman salute came into existance and whether it was indeed Roman, it unquestionably came into being long before Mr. Curry claims to have been the case.
