Saturday, March 24, 2018

Troy, Fall of a City

One of the fundamental assumptions of my education was that the Greeks were always the good guys - that anyone who stood up to Hellenic civilisation was, to use the modern parlance, some sort of 'dune coon' or terrorist. (If who didn't have this sort of education, well then, spoiler alerts!)
Long before I read The Iliad these stories were presented to me piecemeal, largely by one particularly inspirational Latin teacher, and then performed collectively at Prep school as a sort of dramatic adaptation.
I’d even read Julian Jaynes’s mind-bending The Origin of Consciousness in the Breakdown of the Bicameral Mind before tackling the original Homeric text in translation..only to then find myself scratching my head at the absence of a wooden horse in the third act.
The BBC’s new GOT-esque epic Troy, Fall of a City is a recognisable composite of mini-myths lifted from Homer, Virgil and other sources. The underlying premise however appears to be that the (albeit ill-fated) Trojans are the goodies after all, not the thuggish invasion force encamped outside their gates. 
Putting a love story with more than a hint of girl power at the centre of this narrative makes sense from a modern perspective, but the writers have left themselves a bit of hurdle to overcome in the denouement phase. 
Whilst the likes of Agamemnon, Achilles, Hector and even Odysseus (in prequel mode here) all possess character ‘arcs’ in the contemporary sense in the original story, Paris and Helen kind of don’t. (Homer had her married off to someone else before the city falls.)
Rather like Malory’s Le Morte D’Arthur, this is an amalgamation of individual, character-driven plots that taken together don’t quite add up to our familiar stand-alone story structure.
I have two episodes left to consume and look forward to seeing how the annihilation promised in the series’s title can be made dramatically satisfying.

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