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300 (film)
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This article is about the 2006 film. For the 2014 sequel, see 300: Rise of an Empire.
300
Theatrical release poster
Directed by
Zack Snyder
Produced by
Mark Canton
Bernie Goldmann
Gianni Nunnari
Jeffrey Silver
Screenplay by
Michael B. Gordon
Kurt Johnstad
Zack Snyder
Based on
300
by Frank Miller
and Lynn Varley
Starring
Gerard Butler
Lena Headey
David Wenham
Dominic West
Music by
Tyler Bates
Cinematography
Larry Fong
Edited by
William Hoy
Production
companies
Legendary Pictures
Virtual Studios
Atmosphere Pictures
Hollywood Gang Productions
Distributed by
Warner Bros. Pictures
Release date
December 9, 2006 (2006-12-09) (Butt-Numb-A-Thon)[1]
March 9, 2007 (2007-03-09) (United States)
Running time
116 minutes[2]
Country
United States
Language
English
Budget
$65 million[3]
Box office
$456.1 million[4]
300 is a 2006 American epic war film based on the 1998 comic series 300 by Frank Miller and Lynn Varley. Both are fictionalized retellings of the Battle of Thermopylae within the Persian Wars. The film was directed by Zack Snyder, while Miller served as executive producer and consultant. It was filmed mostly with a super-imposition chroma key technique, to help replicate the imagery of the original comic book.
The plot revolves around King Leonidas (Gerard Butler), who leads 300 Spartans into battle against the Persian "god-King" Xerxes (Rodrigo Santoro) and his invading army of more than 300,000 soldiers. As the battle rages, Queen Gorgo (Lena Headey) attempts to rally support in Sparta for her husband. The story is framed by a voice-over narrative by the Spartan soldier Dilios (David Wenham). Through this narrative technique, various fantastical creatures are introduced, placing 300 within the genre of historical fantasy. The events are revealed to be a story told by Dilios, the only one of the 300 Spartans to survive the battle.
300 was released in both conventional and IMAX theaters in the United States on March 9, 2007, and on DVD, Blu-ray Disc, and HD DVD on July 31, 2007. The film received mixed reviews, receiving acclaim for its original visuals and style, but criticism for favoring visuals over characterization and its depiction of the ancient Persians in Iran, a characterization which some had deemed racist; however, the film was a box office success, grossing over $450 million, with the film's opening being the 24th-largest in box office history at the time. A sequel, entitled Rise of an Empire, which is based on Miller's unpublished graphic novel prequel Xerxes, was released on March 7, 2014.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Soundtrack
5 Promotion and release
6 Reception
6.1 Box office
6.2 Critical response
6.3 Accolades
6.4 Historical accuracy
6.5 Controversy
6.5.1 Eugenics
7 Criticism
8 In popular culture
9 Sequel
10 See also
11 References
12 External links
Plot[edit]
In 479 BC, one year after the Battle of Thermopylae, Dilios, a hoplite in the Spartan Army, begins his story by depicting the life of Leonidas I from childhood to kingship via Spartan doctrine. Dilios's story continues and Persian messengers arrive at the gates of Sparta demanding "earth and water" as a token of submission to King Xerxes; the Spartans reply by killing and kicking the messengers into a well. Leonidas then visits the Ephors, proposing a strategy to drive back the numerically superior Persians through the Hot Gates; his plan involves building a wall in order to funnel the Persians into a narrow pass between the rocks and the sea. The Ephors consult the Oracle, who decrees that Sparta will not go to war during the Carneia. As Leonidas angrily departs, a messenger from Xerxes appears, rewarding the Ephors for their covert support.
Although the Ephors have denied him permission to mobilize Sparta's army, Leonidas gathers three hundred of his best soldiers in the guise of his personal bodyguard; they are joined along the way by Arcadians. At Thermopylae, they construct the wall made up of stones and slain Persian scouts as mortar, angering the Persian Emissary. Stelios, an elite Spartan soldier, orders him to go back to the Persian lines and warn Xerxes after cutting off his whipping arm. Meanwhile, Leonidas encounters Ephialtes, a deformed Spartan whose parents fled Sparta to spare him certain infanticide. Ephialtes asks to redeem his father's name by joining Leonidas' army, warning him of a secret path the Persians could use to outflank and surround the Spartans. Though sympathetic, Leonidas rejects him since his deformity physically prevents him from holding his shield high enough; potentially compromising the phalanx formation, and Ephialtes is enraged.
The battle begins soon after the Spartans' refusal to lay down their weapons. Using the Hot Gates to their advantage, as well as their superior fighting skills, the Spartans repel wave after wave of the advancing Persian army. During a lull in the battle, Xerxes personally approaches Leonidas to persuade him to surrender, offering him wealth and power in exchange for his allegiance; Leonidas declines and mocks Xerxes for the inferior quality of his fanatical warriors. In response, Xerxes sends in his elite guard, the Immortals, later that night. Despite some Spartans being killed, they heroically defeat the Immortals (with slight help from the Arcadians). On the second day, Xerxes sends in new waves of armies from Asia and other Persian city-states, including war elephants, to crush the Spartans once and for all, but to no avail. Meanwhile, Ephialtes defects to Xerxes to whom he reveals the secret path in exchange for wealth, luxury, and a uniform. The Arcadians retreat upon learning of Ephialtes' betrayal, but the Spartans stay. Leonidas orders an injured but reluctant Dilios to return to Sparta and tell them of what has happened, a "tale of victory".
In Sparta, Queen Gorgo tries to persuade the Spartan Council to send reinforcements to aid the 300. Theron, a corrupt politician, claims that he "owns" the Council and threatens the Queen, who reluctantly submits to his sexual demands in return for his help. When Theron disgraces her in front of the Council, Gorgo kills him out of rage, revealing within his robe a bag of Xerxes' gold. Marking his betrayal, the Council unanimously agrees to send reinforcements. On the third day, the Persians, led by Ephialtes, traverse the secret path, encircling the Spartans. Xerxes' general again demands their surrender. Leonidas seemingly kneels in submission, allowing Stelios to leap over him and kill the general. A furious Xerxes orders his troops to attack. Leonidas rises and throws his spear at Xerxes; barely missing him, the spear cuts across and wounds his face, proving the God-King's mortality. Leonidas and the remaining Spartans fight to the last man until they finally succumb to an arrow barrage.
Dilios, now back at Sparta, concludes his tale before the Council. Inspired by Leonidas' sacrifice, Greece mobilizes. One year later, the Persians face an army of 30,000 free Greeks led by a vanguard of 10,000 Spartans. After one final speech commemorating the 300, Dilios, now head of the Spartan Army, leads them to war, against the Persians across the fields of Plataea.
Cast[edit]
Gerard Butler as Leonidas, King of Sparta.
David Wenham as Dilios, narrator and Spartan soldier.
Lena Headey as Queen Gorgo, Queen of Sparta (Gorgo has a larger role in the film than she does in the comic book, where she only appears in the beginning).[5]
Giovanni Cimmino as Pleistarchus, son of Leonidas and Gorgo (Pleistarchus does not feature in the comic book).[5]
Dominic West as Theron, a fictional corrupt Spartan politician (Theron is not featured in the comic book).[5]
Vincent Regan as Captain Artemis, Leonidas' loyal captain and friend.
Tom Wisdom as Astinos, Captain Artemis' eldest son. In the film Astinos has a constant presence until he dies. In the comic book Astinos is only mentioned when he dies.[5]
Andrew Pleavin as Daxos, an Arcadian leader who joins forces with Leonidas.
Andrew Tiernan as Ephialtes, a deformed Spartan outcast and traitor.
Rodrigo Santoro as King Xerxes, The powerful and ruthless god-like supreme king of Persia.
Stephen McHattie as The Loyalist, a loyal Spartan politician.
Michael Fassbender as Stelios, a young, spirited and highly skilled Spartan soldier.
Peter Mensah as a Persian messenger who gets kicked into the well by Leonidas.
Kelly Craig as Pythia, an Oracle to the Ephors.
Tyler Neitzel as young Leonidas.
Robert Maillet as Über Immortal (giant), a muscular and deranged Immortal who battles Leonidas during the Immortal fight.
Patrick Sabongui as the Persian General who tries to get Leonidas to comply at the end of the battle.
Leon Laderach as Executioner, a hulking, clawed man who executes men who have displeased Xerxes.
Tyrone Benskin as the whip-wielding Persian Emissary.
Production[edit]
Above: the film version of a panel from the graphic novel (below).
Producer Gianni Nunnari was not the only person planning a film about the Battle of Thermopylae; director Michael Mann already planned a film of the battle based on the book Gates of Fire. Nunnari discovered Frank Miller's graphic novel 300, which impressed him enough to acquire the film rights.[6][7] 300 was jointly produced by Nunnari and Mark Canton, and Michael B. Gordon wrote the script.[8] Director Zack Snyder was hired in June 2004[9] as he had attempted to make a film based on Miller's novel before making his debut with the remake of Dawn of the Dead.[10] Snyder then had screenwriter Kurt Johnstad rewrite Gordon's script for production[9] and Frank Miller was retained as consultant and executive producer.[11] Frank Miller's original graphic novel 300 was inspired by the film The 300 Spartans, which Frank Miller first saw at age 6.[12]
The film is a shot-for-shot adaptation of the comic book, similar to the film adaptation of Sin City.[13] Snyder photocopied panels from the comic book, from which he planned the preceding and succeeding shots. "It was a fun process for me… to have a frame as a goal to get to," he said.[14] Like the comic book, the adaptation also used the character Dilios as a narrator. Snyder used this narrative technique to show the audience that the surreal "Frank Miller world" of 300 was told from a subjective perspective. By using Dilios' gift of storytelling, he was able to introduce fantasy elements into the film, explaining that "Dilios is a guy who knows how not to wreck a good story with truth."[15] Snyder also added the subplot in which Queen Gorgo attempts to rally support for her husband.[16]
Above: A scene during filming. Below: The finished scene.
Two months of pre-production were required to create hundreds of shields, spears, and swords, some of which were recycled from Troy and Alexander. Creatures were designed by Jordu Schell,[17] and an animatronic wolf and thirteen animatronic horses were created. The actors trained alongside the stuntmen, and even Snyder joined in. Upwards of 600 costumes were created for the film, as well as extensive prosthetics for various characters and the corpses of Persian soldiers. Shaun Smith and Mark Rappaport worked hand in hand with Snyder in pre-production to design the look of the individual characters, and to produce the prosthetic makeup effects, props, weapons and dummy bodies required for the production.[18]
300 entered active production on October 17, 2005, in Montreal,[19] and was shot over the course of sixty days[18] in chronological order[16] with a budget of $60 million.[20] Employing the digital backlot technique, Snyder shot at the now-defunct Icestorm Studios in Montreal using bluescreens. Butler said that while he did not feel constrained by Snyder's direction, fidelity to the comic imposed certain limitations on his performance. Wenham said there were times when Snyder wanted to precisely capture iconic moments from the comic book, and other times when he gave actors freedom "to explore within the world and the confines that had been set."[21] Headey said of her experience with the bluescreens, "It's very odd, and emotionally, there's nothing to connect to apart from another actor."[22] Only one scene, in which horses travel across the countryside, was shot outdoors.[23] The film was an intensely physical production, and Butler pulled an arm tendon and developed foot drop.[24]
Post-production was handled by Montreal's Meteor Studios and Hybride Technologies filled in the bluescreen footage with more than 1,500 visual effects shots. Visual effects supervisor Chris Watts and production designer Jim Bissell created a process dubbed "The Crush,"[18] which allowed the Meteor artists to manipulate the colors by increasing the contrast of light and dark. Certain sequences were desaturated and tinted to establish different moods. Ghislain St-Pierre, who led the team of artists, described the effect: "Everything looks realistic, but it has a kind of a gritty illustrative feel."[18][25] Various computer programs, including Maya, RenderMan and RealFlow, were used to create the "spraying blood."[26] The post-production lasted for a year and was handled by a total of ten special effects companies.[27]
Soundtrack[edit]
Main article: 300 Original Motion Picture Soundtrack
In July 2005, composer Tyler Bates began work on the film, describing the score as having "beautiful themes on the top and large choir," but "tempered with some extreme heaviness." The composer had scored for a test scene that the director wanted to show to Warner Bros. to illustrate the path of the project. Bates said that the score had "a lot of weight and intensity in the low end of the percussion" that Snyder found agreeable to the film.[28] The score was recorded at Abbey Road Studios and features the vocals of Azam Ali.[29] A standard edition and a special edition of the soundtrack containing 25 tracks was released on March 6, 2007, with the special edition containing a 16-page booklet and three two-sided trading cards.[30]
The score has caused some controversy in the film composer community, garnering criticism for its striking similarity to several other recent soundtracks, including James Horner and Gabriel Yared's work for the film Troy. The heaviest borrowings are said to be from Elliot Goldenthal's 1999 score for Titus. "Remember Us," from 300, is identical in parts to the "Finale" from Titus, and "Returns a King" is similar to the cue "Victorius Titus."[31][32][33] (see copyright issues.) On August 3, 2007, Warner Bros. Pictures acknowledged in an official statement:
… a number of the music cues for the score of 300 were, without our knowledge or participation, derived from music composed by Academy Award winning composer Elliot Goldenthal for the motion picture Titus. Warner Bros. Pictures has great respect for Elliot, our longtime collaborator, and is pleased to have amicably resolved this matter.[34]
Promotion and release[edit]
Lena Headey at the London premiere, 2007
The official 300 website was launched by Warner Bros. in December 2005. The "conceptual art" and Zack Snyder's production blog were the initial attractions of the site.[35] Later, the website added video journals describing production details, including comic-to-screen shots and the creatures of 300. In January 2007, the studio launched a MySpace page for the film.[36] The Art Institutes created a micro-site to promote the film.[37]
At Comic-Con International in July 2006, the 300 panel aired a promotional teaser of the film, which was positively received.[38] Despite stringent security, the trailer was subsequently leaked on the Internet.[39] Warner Bros. released the official trailer for 300 on October 4, 2006,[40] and later on it made its debut on Apple.com where it received considerable exposure. The background music used in the trailers was "Just Like You Imagined" by Nine Inch Nails. A second 300 trailer, which was attached to Apocalypto, was released in theaters on December 8, 2006,[41] and online the day before.[42] On January 22, 2007, an exclusive trailer for the film was broadcast during prime time television.[43] The trailers have been credited with igniting interest in the film and contributing to its box-office success.[44]
In April 2006, Warner Bros. Interactive Entertainment announced its intention to make a PlayStation Portable game, 300: March to Glory, based on the film. Collision Studios worked with Warner Bros. to capture the style of the film in the video game, which was released simultaneously with the film in the United States.[45] The National Entertainment Collectibles Association produced a series of action figures based on the film,[46] as well as replicas of weapons and armor.[47]
Warner Bros. promoted 300 by sponsoring the Ultimate Fighting Championship's light heavyweight champion Chuck Liddell, who made personal appearances and participated in other promotional activities.[48] The studio also joined with the National Hockey League to produce a 30-second TV spot promoting the film in tandem with the Stanley Cup playoffs.[49]
In August 2006, Warner Bros. announced 300's release date as March 16, 2007,[50] but in October the release was moved forward to March 9, 2007.[40] An unfinished cut of 300 was shown at Butt-Numb-A-Thon film festival on December 9, 2006.[1] 300 was released on DVD, Blu-ray Disc, and HD DVD on July 31, 2007, in Region 1 territories, in single-disc and two-disc editions. 300 was released in single-disc and steelcase two-disc editions on DVD, BD and HD DVD in Region 2 territories beginning August 2007. On July 21, 2009, Warner Bros. released a new Blu-ray Disc entitled 300: The Complete Experience to coincide with the Blu-ray Disc release of Watchmen. This new Blu-ray Disc is encased in a 40-page Digibook and includes all the extras from the original release as well as some new ones. These features include a Picture-in-Picture feature entitled The Complete 300: A Comprehensive Immersion, which enables the viewer to view the film in three different perspectives. This release also includes a digital copy.[51]
On July 9, 2007, American cable channel TNT bought the rights to broadcast the film from Warner Bros.[52] TNT started airing the film in September 2009. Sources say that the network paid between $17 million[53] and just under $20 million[52] for the broadcasting rights. TNT agreed to a three-year deal instead of the more typical five-year deal.[53]
Reception[edit]
Box office[edit]
300 was released in North America on March 9, 2007, in both conventional and IMAX theaters.[54] It grossed $28,106,731 on its opening day and ended its North American opening weekend with $70,885,301,[55] breaking the record held by Ice Age: The Meltdown for the biggest opening weekend in the month of March and for a Spring release. Since then 300's Spring release record was broken by Fast and Furious and 300's March record was broken by Tim Burton's Alice in Wonderland.[56][57] 300's opening weekend gross is the 24th-highest in box office history, coming slightly below The Lost World: Jurassic Park but higher than Transformers.[58] It was the third-biggest opening for an R-rated film ever, behind The Matrix Reloaded ($91.8 million) and The Passion of the Christ ($83.8 million).[59] The film also set a record for IMAX cinemas with a $3.6 million opening weekend.[60] The film grossed $456,068,181 worldwide.
300 opened two days earlier, on March 7, 2007, in Sparta, and across Greece on March 8.[61][62] Studio executives were surprised by the showing, which was twice what they had expected.[63] They credited the film's stylized violence, the strong female role of Queen Gorgo which attracted a large number of women, and a MySpace advertising blitz.[64] Producer Mark Canton said, "MySpace had an enormous impact but it has transcended the limitations of the Internet or the graphic novel. Once you make a great movie, word can spread very quickly."[64]
Critical response[edit]
Since its world premiere at the Berlin International Film Festival on February 14, 2007, in front of 1,700 audience members, 300 has received generally mixed reviews. While it received a standing ovation at the public premiere,[65] it was panned at a press screening hours earlier, where many attendees left during the showing and those who remained booed at the end.[66] Critics are divided on the film.[67] On Rotten Tomatoes the film has an approval rating of 60% based 225 reviews, with an average rating of 6.1/10. The site's critical consensus reads, "A simple-minded but visually exciting experience, full of blood, violence, and ready-made movie quotes."[68] On Metacritic, which assigns a normalized rating to reviews, the film has an average score of 52 out of 100, based on 42 critics, indicating "mixed or average reviews".[67] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[69]
Some of the most unfavorable reviews came from major American newspapers. A.O. Scott of The New York Times describes 300 as "about as violent as Apocalypto and twice as stupid," while criticizing its color scheme and suggesting that its plot includes racist undertones; Scott also poked fun at the buffed bodies of the actors portraying the Spartans, declaring that the Persian characters are "pioneers in the art of face-piercing", but that the Spartans had access to "superior health clubs and electrolysis facilities".[70] Kenneth Turan writes in the Los Angeles Times that "unless you love violence as much as a Spartan, Quentin Tarantino or a video-game-playing teenage boy, you will not be endlessly fascinated."[71] Roger Ebert, in his review, gave the film a two-star rating, writing, "300 has one-dimensional caricatures who talk like professional wrestlers plugging their next feud."[72] Some critics employed at Greek newspapers have been particularly critical, such as film critic Robby Eksiel, who said that moviegoers would be dazzled by the "digital action" but irritated by the "pompous interpretations and one-dimensional characters."[62][73]
Variety's Todd McCarthy describes the film as "visually arresting" although "bombastic"[74] while Kirk Honeycutt, writing in The Hollywood Reporter, praises the "beauty of its topography, colors and forms."[75] Writing in the Chicago Sun Times, Richard Roeper acclaims 300 as "the Citizen Kane of cinematic graphic novels."[76] Empire gave the film 3 out of 5 having a verdict of "Visually stunning, thoroughly belligerent and as shallow as a pygmy's paddling pool, this is a whole heap of style tinged with just a smidgen of substance." 300 was also warmly received by websites focusing on comics and video games. Comic Book Resources' Mark Cronan found the film compelling, leaving him "with a feeling of power, from having been witness to something grand."[77] IGN's Todd Gilchrist acclaimed Zack Snyder as a cinematic visionary and "a possible redeemer of modern moviemaking."[78]
Accolades[edit]
At the MTV Movie Awards 2007, 300 was nominated for Best Movie, Best Performance for Gerard Butler, Best Breakthrough Performance for Lena Headey, Best Villain for Rodrigo Santoro, and Best Fight for Leonidas battling "the Über Immortal",[79] but only won the award for Best Fight. 300 won both the Best Dramatic Film and Best Action Film honors in the 2006–2007 Golden Icon Awards presented by Travolta Family Entertainment.[80] In December 2007, 300 won IGN's Movie of the Year 2007,[81] along with Best Comic Book Adaptation[82] and King Leonidas as Favorite Character.[83] The movie received 10 nominations for the 2008 Saturn Awards, winning the awards for Best Director and Best Action/Adventure/Thriller Film.[84] In 2009, National Review magazine ranked 300 number 5 on its 25 Best Conservative Movies of the Last 25 Years list.[85]
Historical accuracy[edit]
Since few records about the actual martial arts used by the Spartans survive aside from accounts of formations and tactics, the fight choreography led by stunt coordinator and fight choreographer Damon Caro, was a synthesis of different weapon arts with Filipino martial arts as the base.[86] This can be seen in the blade work and the signature use of the off hand by Arnis/Kali/Eskrima in the offensive use of the shields. The Spartans' use of the narrow terrain, in those particular circumstances, is a military tactic known as "defeat in detail".
Paul Cartledge, Professor of Greek History at Cambridge University, advised the filmmakers on the pronunciation of Greek names, and said they "made good use" of his published work on Sparta. He praises the film for its portrayal of "the Spartans' heroic code", and of "the key role played by women in backing up, indeed reinforcing, the male martial code of heroic honour", while expressing reservations about its "'West' (goodies) vs 'East' (baddies) polarization".[87] Cartledge writes that he enjoyed the film, although he found Leonidas' description of the Athenians as "boy lovers" ironic, since the Spartans themselves incorporated institutional pederasty into their educational system.[88]
Ephraim Lytle, assistant professor of Hellenistic History at the University of Toronto, said 300 selectively idealizes Spartan society in a "problematic and disturbing" fashion, as well as portraying the "hundred nations of the Persians" as monsters and non-Spartan Greeks as weak. He suggests that the film's moral universe would have seemed "as bizarre to ancient Greeks as it does to modern historians".[89]
Victor Davis Hanson, National Review columnist and former professor of Classical history at California State University, Fresno, who wrote the foreword to a 2007 re-issue of the graphic novel, said the film demonstrates a specific affinity with the original material of Herodotus in that it captures the martial ethos of ancient Sparta and represents Thermopylae as a "clash of civilizations". He remarks that Simonides, Aeschylus, and Herodotus viewed Thermopylae as a battle against "Eastern centralism and collective serfdom", which opposed "the idea of the free citizen of an autonomous polis".[90] He also said the film portrays the battle in a "surreal" manner, and that the intent was to "entertain and shock first, and instruct second".[91]
Touraj Daryaee, now Baskerville Professor of Iranian History and the Persian World at the University of California, Irvine, criticized the film's use of classical sources, writing:
Some passages from the Classical authors Aeschylus, Diodorus, Herodotus and Plutarch are split over the movie to give it an authentic flavor. Aeschylus becomes a major source when the battle with the "monstrous human herd" of the Persians is narrated in the film. Diodorus' statement about Greek valor to preserve their liberty is inserted in the film, but his mention of Persian valor is omitted. Herodotus' fanciful numbers are used to populate the Persian army, and Plutarch's discussion of Greek women, specifically Spartan women, is inserted wrongly in the dialogue between the "misogynist" Persian ambassador and the Spartan king. Classical sources are certainly used, but exactly in all the wrong places, or quite naively. The Athenians were fighting a sea battle during this.[92]
Robert McHenry, former editor-in-chief of Encyclopædia Britannica and author of How to Know said the film "is an almost ineffably silly movie. Stills from the film could easily be used to promote Buns of Steel, or AbMaster, or ThighMaster. It's about the romanticizing of the Spartan 'ideal', a process that began even in ancient times, was promoted by the Romans, and has survived over time while less and less resembling the actual historical Sparta."[93]
The director of 300, Zack Snyder, stated in an MTV interview that "the events are 90 percent accurate. It's just in the visualization that it's crazy… I've shown this movie to world-class historians who have said it's amazing. They can't believe it's as accurate as it is." Nevertheless, he also said the film is "an opera, not a documentary. That's what I say when people say it's historically inaccurate".[94] He was also quoted in a BBC News story as saying that the film is, at its core "a fantasy film". He also describes the film's narrator, Dilios, as "a guy who knows how not to wreck a good story with truth".[15]
In an interview 300 writer Frank Miller said, "The inaccuracies, almost all of them, are intentional. I took those chest plates and leather skirts off of them for a reason. I wanted these guys to move and I wanted 'em to look good. I knocked their helmets off a fair amount, partly so you can recognize who the characters are. Spartans, in full regalia, were almost indistinguishable except at a very close angle. Another liberty I took was, they all had plumes, but I only gave a plume to Leonidas, to make him stand out and identify him as a king. I was looking for more an evocation than a history lesson. The best result I can hope for is that if the movie excites someone, they'll go explore the histories themselves. Because the histories are endlessly fascinating."[95]
Dr. Kaveh Farrokh in a paper entitled "The 300 Movie: Separating Fact from Fiction" [96] notes that the film falsely portrays "the Greco-Persian Wars in binary terms: the democratic, good, rational 'Us' versus the tyrannical, evil and irrational, 'other' of the ever-nebulous (if not exotic) 'Persia'". He highlights three points regarding the contribution of the Achaemenid Empire to the creation of democracy and human rights. "The founder of the Achaemenid Empire, Cyrus the Great, was the world's first world emperor to openly declare and guarantee the sanctity of human rights and individual freedom", "Cyrus was a follower of the teachings of Zoroaster, the founder of one of the world's oldest monotheistic religions", and to put his own words in action "When Cyrus defeated King Nabonidus of Babylon, he officially declared the freedom of the Jews from their Babylonian captivity. This was the first time in history that a world power had guaranteed the survival of the Jewish people, religion, customs and culture."[97]
Controversy[edit]
Before the release of 300, Warner Bros. expressed concerns about the political aspects of the film's theme. Snyder relates that there was "a huge sensitivity about East versus West with the studio."[98] Media speculation about a possible parallel between the Greco-Persian conflict and current events began in an interview with Snyder that was conducted before the Berlin Film Festival.[99] The interviewer remarked that "everyone is sure to be translating this [film] into contemporary politics." Snyder replied that, while he was aware that people would read the film through the lens of current events, no parallels between the film and the modern world were intended.[100]
Outside the current political parallels, some critics have raised more general questions about the film's ideological orientation. The New York Post's Kyle Smith wrote that the film would have pleased "Adolf's boys,"[101] and Slate's Dana Stevens compares the film to The Eternal Jew, "as a textbook example of how race-baiting fantasy and nationalist myth can serve as an incitement to total war."[102] Roger Moore, a critic for the Orlando Sentinel, relates 300 to Susan Sontag's definition of "fascist art."[103] Alleanza Nazionale, an Italian neoconservative political party formed from the collapse of the neo-fascist party MSI, has used imagery from the work within candidate propaganda posters titled: "Defend your values, your civilization, your district".
Newsday critic Gene Seymour, on the other hand, stated that such reactions are misguided, writing that "the movie's just too darned silly to withstand any ideological theorizing."[104] Snyder himself dismissed ideological readings, suggesting that reviewers who critique "a graphic novel movie about a bunch of guys…stomping the snot out of each other" using words like "'neocon,' 'homophobic,' 'homoerotic' or 'racist'" are "missing the point."[105] Snyder, however, also admitted to fashioning an effeminate villain specifically to play into the homophobia of young straight males.[106] Slovenian critic Slavoj Žižek pointed out that the story represents "a poor, small country (Greece) invaded by the army of a much large[r] state (Persia)," suggesting that the identification of the Spartans with a modern superpower is flawed.[107]
300 writer Frank Miller said: "The Spartans were a paradoxical people. They were the biggest slave owners in Greece. But at the same time, Spartan women had an unusual level of rights. It's a paradox that they were a bunch of people who in many ways were fascist, but they were the bulwark against the fall of democracy. The closest comparison you can draw in terms of our own military today is to think of the red-caped Spartans as being like our special-ops forces. They're these almost superhuman characters with a tremendous warrior ethic, who were unquestionably the best fighters in Greece. I didn't want to render Sparta in overly accurate terms, because ultimately I do want you to root for the Spartans. I couldn't show them being quite as cruel as they were. I made them as cruel as I thought a modern audience could stand."[95]
Eugenics[edit]
Ephraim Lytle, assistant professor of Hellenistic history at the University of Toronto, commented: "Ephialtes, who betrays the Greeks, is likewise changed from a local Malian of sound body into a Spartan outcast, a grotesquely disfigured troll who by Spartan custom should have been left exposed as an infant to die. Leonidas points out that his hunched back means Ephialtes cannot lift his shield high enough to fight in the phalanx. This is a transparent defence of Spartan eugenics, and convenient given that infanticide could as easily have been precipitated by an ill-omened birthmark."[89]
Michael M. Chemers, author of "'With Your Shield, or on It': Disability Representation in 300" in the Disability Studies Quarterly, said that the film's portrayal of the hunchback and his story "is not mere ableism: this is anti-disability."[108]
Frank Miller—commenting on areas where he lessened the Spartan cruelty for narrative purposes—said: "I have King Leonidas very gently tell Ephialtes, the hunchback, that they can't use him [as a soldier], because of his deformity. It would be much more classically Spartan if Leonidas laughed and kicked him off the cliff."[95]
Criticism[edit]
Some interpreted the portrayal of King Xerxes (right) as homosexual. Snyder said of Xerxes: "What's more scary to a 20-year-old boy than a giant god-king who wants to have his way with you?"[106]
From its opening, 300 also attracted controversy over its portrayal of Persians. Officials of the Iranian government[109] denounced the film.[110][111][112] Some scenes in the film portray demon-like and other fictional creatures as part of the Persian army, and the fictionalized portrayal of Persian King Xerxes I has been criticized as effeminate.[113][114] Critics suggested that this was meant to stand in stark contrast to the sheer masculinity of the Spartan army.[115] Steven Rea argued that the film's Persians were a vehicle for an anachronistic cross-section of Western stereotypes of Asian and African cultures.[116]
The film's portrayal of ancient Persians caused a particularly strong reaction in Iran.[117] Various Iranian officials condemned the film.[118][119][120][121] The Iranian Academy of the Arts submitted a formal complaint against the film to UNESCO, labelling it an attack on the historical identity of Iran.[122][123] The Iranian mission to the U.N. protested the film in a press release,[124] and Iranian embassies protested its screening in France,[125] Thailand,[126] Turkey,[127] and Uzbekistan.[128] The film was banned within Iran as "hurtful American propaganda".[129] Reviewers in the United States and elsewhere "noted the political overtones of the West-against-Iran story line and the way Persians are depicted as decadent, sexually flamboyant and evil in contrast to the noble Greeks".[130] With bootleg versions of the film already available in Tehran with the film's international release and news of the film's surprising success at the U.S. box office, it prompted widespread anger in Iran. Azadeh Moaveni of Time reported, "All of Tehran was outraged. Everywhere I went yesterday, the talk vibrated with indignation over the film".[131] Newspapers in Iran featured headlines such as "Hollywood declares war on Iranians" and "300 Against 70 Million" (Iran's population). Ayende-No, an independent Iranian newspaper, said that "[t]he film depicts Iranians as demons, without culture, feeling or humanity, who think of nothing except attacking other nations and killing people".[131] Four Iranian Members of Parliament have called for Muslim countries to ban the film,[132] and a group of Iranian film makers submitted a letter of protest to UNESCO regarding the film's alleged misrepresentation of Iranian history and culture.[133] Iran's cultural advisor to president Mahmoud Ahmadinejad has called the film an "American attempt for psychological warfare against Iran".[134]
Moaveni identified two factors which may have contributed to the intensity of Iranian indignation over the film. First, she describes the timing of the film's release, on the eve of Norouz, the Persian New Year, as "inauspicious." Second, Iranians tend to view the era depicted in the film as "a particularly noble page in their history". Moaveni also suggests that "the box office success of 300, compared with the relative flop of Alexander (another spurious period epic dealing with Persians), is cause for considerable alarm, signaling ominous U.S. intentions".[131]
According to The Guardian, Iranian critics of 300, ranging from bloggers to government officials, have described the movie "as a calculated attempt to demonise Iran at a time of intensifying U.S. pressure over the country's nuclear programme".[132] An Iranian government spokesman described the film as "hostile behavior which is the result of cultural and psychological warfare".[132] Moaveni reported that the Iranians she interacted with were "adamant that the movie was secretly funded by the U.S. government to prepare Americans for going to war against Iran".[131]
Dana Stevens of Slate states, "If 300, the new battle epic based on the graphic novel by Frank Miller and Lynn Varley, had been made in Germany in the mid-1930s, it would be studied today alongside The Eternal Jew as a textbook example of how race-baiting fantasy and nationalist myth can serve as an incitement to total war. Since it's a product of the post-ideological, post-Xbox 21st century, 300 will instead be talked about as a technical achievement, the next blip on the increasingly blurry line between movies and video games.[135]
In popular culture[edit]
300 has been spoofed in film, television, and other media, and spawned the "This is Sparta!" internet meme.[136] Skits based upon the film have appeared on Saturday Night Live[137] and Robot Chicken, the latter of which mimicked the visual style of 300 in a parody set during the American Revolutionary War, titled "1776".[138] Other parodies include an episode of South Park named "D-Yikes!",[139] and "BOO!" by Mad magazine in its September 2007 issue #481, written by Desmond Devlin and illustrated by Mort Drucker.[140] 20th Century Fox released Meet the Spartans, a spoof directed by Jason Friedberg and Aaron Seltzer. Universal Pictures was planning a similar parody, titled National Lampoon's 301: The Legend of Awesomest Maximus Wallace Leonidas.[141]
300, particularly its pithy quotations, has been "adopted" by the student body of Michigan State University (whose nickname is the Spartans), with chants of "Spartans, what is your profession?" becoming common at sporting events starting after the film's release, and Michigan State basketball head coach Tom Izzo dressed as Leonidas at one student event.[142][143] Nate Ebner, a football player with the New England Patriots in the National Football League and formerly with the Ohio State Buckeyes, was nicknamed "Leonidas," after the Greek warrior-king hero of Sparta acted by Gerard Butler in the movie 300, because of his intense workout regimen, and his beard.[144]
Sequel[edit]
Main article: 300: Rise of an Empire
In June 2008, producers Mark Canton, Gianni Nunnari and Bernie Goldmann revealed that work had begun on a sequel to 300, 300: Rise of an Empire.[145] Legendary Pictures had announced that Frank Miller started writing the follow-up graphic novel, and Zack Snyder was interested in directing the adaptation, but moved on to develop and direct the Superman reboot Man of Steel.[146][147] Noam Murro directed instead, while Zack Snyder produced. The film focused on the Athenian admiral, Themistocles, as portrayed by Australian actor Sullivan Stapleton. The sequel, 300: Rise of an Empire, was released on March 7, 2014.[148]
See also[edit]
List of historical period drama films and series
List of book-based war films (wars before 1775)
Ancient Greece portal
Film in the United States portal
2000s portal
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300 production notes
Neil Miller (February 14, 2007). "Interview: Director Zach Snyder talks 300". Archived from the original on May 15, 2008.
David C. Ryan (August 2007). "300 Lies? Give poetics a chance". Bright Lights Film (57).
Victor Davis Hanson (March 28, 2007). "300: Fact or Fiction?". Tribune Media Services. Archived from the original on January 3, 2010.
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Lucy Pevensie
From Wikipedia, the free encyclopedia
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Lucy Pevensie
Narnia character
Georgie Henley as Lucy in the 2008 film, The Chronicles of Narnia: Prince Caspian.
Race
Human
Sex
Female
Nation
England
Title
Queen Lucy the Valiant
Birthplace
England, Earth
Family
Parents
Mr and Mrs Pevensie
Siblings
Peter, Susan and Edmund Pevensie
Family
Eustace Scrubb (cousin)
Major character in
The Lion, the Witch and the Wardrobe
Prince Caspian
The Voyage of the Dawn Treader
Portrayals in adaptations
1988 BBC miniseries: Sophie Wilcox, Juliet Waley (older)
2005 Walden/Disney film: Georgie Henley, Rachael Henley (older)
2008 Walden/Disney film: Georgie Henley[1]
2010 Walden/Fox film: Georgie Henley
Lucy Pevensie is a fictional character in C. S. Lewis's The Chronicles of Narnia series. She is the youngest of the four Pevensie children, and the first to find the Wardrobe entrance to Narnia in The Lion, the Witch and the Wardrobe. Of all the Pevensie children, Lucy is the closest to Aslan. Also, of all the humans who have visited Narnia, Lucy is perhaps the one that believes in Narnia the most. She is ultimately crowned Queen Lucy the Valiant, co-ruler of Narnia along with her two brothers and her sister. Lucy is the central character of the four siblings in the novels. Lucy is a principal character in three of the seven books (The Lion, the Witch and the Wardrobe, Prince Caspian, and The Voyage of the Dawn Treader), and a minor character in two others (The Horse and His Boy and The Last Battle).
Lucy is portrayed by Georgie Henley in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and she returned to reprise her role in the 2008 film The Chronicles of Narnia: Prince Caspian.[1] Georgie's elder sister, Rachael Henley, portrays the older Queen Lucy at the end of the first film. Georgie Henley also reprised her role in the 2010 film The Chronicles of Narnia: The Voyage of the Dawn Treader, which is the third of the film series.
The character of Lucy Pevensie was inspired by June Flewett,[2] a devout Catholic London girl evacuated by her convent to The Kilns, Lewis' country home in 1942,[3] and named after Lewis' goddaughter Lucy Barfield, to whom he dedicated The Lion, The Witch and the Wardrobe. Lucy is described in the book as being fair-haired: "But as for Lucy, she was always gay and golden-haired, and all princes in those parts desired her to be their Queen, and her own people called her Queen Lucy the Valiant."[4]
Lucy was the most faithful of the four and never stopped believing in Narnia. She and her brothers Peter and Edmund, after dying in a train crash in England, were transported to Aslan's Country with the other Narnians.
Contents
[hide]
1 Biography
1.1 Character
1.2 Childhood
1.3 1940–1941
1.4 1941–1942
1.5 1942–1949
1.6 Golden Age of Narnia
1.7 Prior story
1.8 The Lion, the Witch and the Wardrobe
1.9 The Horse and His Boy
1.10 Prince Caspian
1.11 The Voyage of the Dawn Treader
1.12 The Last Battle
1.13 Afterlife
2 Portrayals
3 Other appearances
4 References
5 External links
Biography[edit]
Character[edit]
Lucy is the most sensitive and faithful out of all her siblings; which is why she is written as seeing Aslan across the gorge in Prince Caspian and her brothers and sister written as cynical and less inclined to go on blind faith. As a young child in The Lion, the Witch and the Wardrobe in a strange house without her mother about, she is also extremely vulnerable and is looking for security, wonder and something to believe in. She is teased mercilessly by Edmund about Narnia, being accused of playing "childish games". Once she knows he also has visited the land in the wardrobe and he still maintains that they were only playing a game, her anguish knows no bounds, as her faith in humanity and the security of her own beliefs about her own siblings are now also under threat.
Lucy loves animals, and makes friends with many creatures; and is devastated in Prince Caspian to discover that not only has Narnia been invaded by the Telmarines; but that they have suppressed the many creatures and divine and semi-divine beings that made Narnia the extraordinary place it was. Her heartfelt night-time roam through the woods, craving to see the tree spirits dance and share in their communion with nature and life once again is one of the very deep moments of love, hope and disappointment that we share with Lucy in her spiritual journey. Lucy also never stops believing in Narnia and is full of courage because of her faith; and is thus more adventurous than her sister Susan. Lucy has a great desire to help others, which is symbolized by the healing cordial that was given to her by Father Christmas for others in need and only with sparing use. The lesson from Aslan on the battlefield in The Lion, the Witch and the Wardrobe is to use this power impartially and not dwell on the needs of those she loves most.
Childhood[edit]
Lucy Pevensie was born in 1932, the fourth of four children. She grew up in London with her mother, father, eldest brother Peter, sister Susan, and brother Edmund. In 1940, the Blitz began, and Lucy and her siblings were evacuated from London for their safety, taking up a temporary residence in the country manor of an old man known as Professor Kirke.
1940–1941[edit]
The siblings discovered that due to magic, their fifteen years in Narnia had taken up no time at all in England, and they were again children in the Professor's house. They told only the professor of their adventure, and he in turn admitted that he, too, had been to Narnia. The children were slightly dismayed to be told that the wardrobe had sealed and would no longer carry them between the worlds. A year later, at the age of nine, Lucy set out for her first year at a girl's boarding school with Susan. While en route to school, all four children felt a peculiar tug, recognized as magic, and were within moments drawn back out of Earth.
1941–1942[edit]
In England again, Lucy spent her first year at boarding school. While there, she made several friends. In summer of 1942, she and Edmund were sent to stay with their Aunt and Uncle while their parents went away on a trip.
1942–1949[edit]
Afterwards, Lucy grew up fairly normally, eventually becoming one of the self-titled Seven Friends of Narnia, those who had been to the world of Narnia by magic. In 1949, Lucy, Edmund, and Peter were having dinner with Eustace, Jill Pole, Polly Plummer and Digory Kirke, reminiscing about their days in Narnia when a Narnian-dressed figure appeared to them as a specter. The figure did not speak, even when Peter demanded as High King that it do so. After the specter disappeared again, they all felt sure that something was dreadfully wrong in their beloved country, and they needed to find a way to get there on their own.
Remembering the magic rings capable of carrying humans from world to world, the seven set up a plan to get young Jill and Eustace to Narnia. While the rings were retrieved, Lucy and the others got on a train to take Eustace and Jill to school, intending to use the rings on the way. They never made it, as their train crashed on the way, killing all aboard. By all accounts, Lucy and the others died instantly as a result of the crash.
Golden Age of Narnia[edit]
The four-part reign lasted fifteen years, and was known as the Golden Age of Narnia. Lucy grew up to become a sweet and beloved queen, dubbed 'Queen Lucy the Valiant' by her people. Not only a lovely lady and an accomplished queen, she was also a fierce warrior, known to ride into battle in times of need. She remained close friends with Mr. Tumnus. In 1014, Narnia's ally of Archenland was under attack. Lucy rode with her brother King Edmund to wage battle for their defense, and helped to win the day. In 1015 NT, Mr. Tumnus brought the news that the magical White Stag had returned to Narnia. Lucy and her siblings set out on a hunt, in the course of which they got lost in the woods. Stumbling through the woods, they found themselves in England again, back on the other side of the magic wardrobe.
Prior story[edit]
Lucy was born in 1932 and is 8 years old when she appears in The Lion, the Witch and the Wardrobe. By The Last Battle, she is 17 years old.
The Lion, the Witch and the Wardrobe[edit]
Lucy's siblings, Peter, Susan and Edmund, do not believe her about Narnia at first, but later they all find their way to Narnia.
In The Lion, the Witch and the Wardrobe, Lucy is the first of the Pevensies to enter Narnia through a magical wardrobe in the Professor's old house, into Narnia in the One Hundred Year Winter, under the rule of the White Witch, the evil self-proclaimed Queen of Narnia. There she meets Mr. Tumnus the Faun and, then later, the Beavers.
While traveling with Peter, Susan and Mr and Mrs Beaver Father Christmas gives them gifts; Lucy is given a vial with magical cordial that can heal almost any injury, and a small dagger with which to defend herself "at great need". Edmund, meanwhile, had tried to betray the Beavers and joined the White Witch; he had first met her and been seduced by promises of power after first entering the wardrobe when trying to follow Lucy on her second entry to Narnia.
She and her companions arrive at Aslan's camp, and later that night, she and Susan comfort Aslan as he walks to his death – although they don't know of his fate at the time. Both girls also witness his sacrifice. While their brothers are going to war, Lucy and her sister see Aslan come back to life and help him wake the creatures in the White Witch's castle, which the White Witch had turned to stone. They meet with their brothers at the end of the battle.
At Cair Paravel, she is crowned as Her Majesty Queen Lucy by Aslan to the throne as co-ruler of Narnia, this marking the fulfilling of the ancient prophecy and the end of the White Witch's reign. During her reign, the people name her Queen Lucy the Valiant. She and her siblings make a Golden Age in Narnia.
Late in the Golden Age, while hunting the white stag through Lantern Waste, she notices the lantern where she met Mr. Tumnus. She stops her siblings and they look and wonder what it is. Lucy, in a dreamy voice, says Spare Oom, Mr. Tumnus's phrase for the land from which they came 15 years earlier, and the children run through the wardrobe into England, where no time has passed and they are children again.
The Horse and His Boy[edit]
The events in The Horse and His Boy take place after the siblings are crowned, and before they return to England, in The Lion, the Witch and the Wardrobe, and Queen Lucy is a young woman who rides to the aid of Archenland. She is described by Prince Corin as being more like a tomboy, unlike her sister, Queen Susan, who is a "proper lady". She helps King Lune to welcome Aravis to Anvard, and helps to get Aravis's room and clothes ready.
Prince Caspian[edit]
Lucy (who is now 9) travels to Narnia again with her three siblings in Prince Caspian. In that book, Lucy is the only one to see Aslan at first, and she has a terrible time convincing her brothers and sister as well as Trumpkin the dwarf that he had returned, echoing her trials early in the first book. However, Edmund believes her and backs her up, due to her being right about Narnia itself existing. Aslan tells her to try again, and says that she must follow him alone if they refuse to come with her. Lucy comments that Aslan has grown larger, but really she is the one that has grown.
The Voyage of the Dawn Treader[edit]
While Susan travels with Mr. and Mrs. Pevensie to America and Peter studies with Professor Digory Kirke, Lucy (age 11), Edmund and their cousin Eustace are drawn into Narnia through a magical painting in The Voyage of the Dawn Treader. This is very much Lucy's book, written largely from her point of view. However, at the end Aslan firmly tells her and Edmund that they have become, like Susan and Peter, too old to further experience the wonders of Narnia.
The Last Battle[edit]
In The Last Battle, she plays a minor part as she returns to Narnia again with her brothers, High King Peter and King Edmund, along with Eustace Scrubb, Jill Pole, Polly Plummer, and Digory Kirke. There, she witnesses the destruction of Narnia and lives in the new Narnia created by Aslan. In the new Narnia, all the people and animals who lived in the previous Narnia during its existence return and join together. Lucy also meets her old friend Mr. Tumnus the Faun again, and Aslan tells her about a railway accident that occurs in England in which she, her brothers, her parents, Polly, Digory, Eustace and Jill die. She and Digory, Polly, Peter, Edmund, Eustace and Jill stay in Aslan's homeland for eternity, however Susan goes back to living on Earth.
Afterlife[edit]
Lucy – along with Edmund, Peter, Digory, and Polly – are instantly transported to a great green field with fruit trees and a door that leads to nowhere, clothed in Narnian garb. Several people come in or out of the door, but most seem unable to see the fields or Lucy and her companions. After some time, Eustace, and then Jill, walk through the door, explaining that they had been to Narnia on the other side of it. Once everything in Narnia has been straightened out and many other Narnians had join them, the Friends of Narnia stand by as Aslan brings about the end of Old Narnia.
Then Aslan gave a great roar and began to lead all the remaining Narnians. All run after him up the field, realizing that this is not Narnia, but that the real Narnia and the afterlife of the world they had known. They all run until they reach Cair Paravel, and meet all of their old friends from all of their adventures in the Shadowlands.
Lucy is not quite so happy in the New Narnia as Aslan meant her to be, however. She explains that she is dissatisfied because they (the English Narnians) are so afraid of being sent home. Aslan explains that there had been a train accident back in England, and that in their world, the children are all dead. He explains further that the Real Narnia is his country, and a Narnian equivalent of heaven. Lucy is permitted to live forever with her siblings in the Real Narnia.
Portrayals[edit]
In the 1980s BBC serial, Lucy is portrayed by English actress Sophie Wilcox.
In Walden Media's The Chronicles of Narnia films, Lucy is portrayed by English actress Georgie Henley as a child and Rachael Henley (her older sister) as an adult.
Other appearances[edit]
Although reviews of The Oz/Wonderland Chronicles issue 0 indicated that Alice, Wendy Darling and Dorothy Gale shared their dorm with Susan Pevensie, a recent review of the now-released issue 1 indicates many fans are believing this is actually meant to be Lucy, and not Susan.
She is spoofed in the 2007 film Epic Movie.
References[edit]
Narnia portal
Fictional characters portal
^ Jump up to: a b "Caspian to be second Narnia movie". BBC. 2006-01-18. Retrieved 2006-12-01.
Jump up ^ The Daily Telegraph, 11 December 2005.
Jump up ^ Wilson, A.N. (2002). C.S.Lewis: A Biography. London: W. W. Norton & Company. ISBN 978-0-393-32340-5.
Jump up ^ Lewis, C.S. "The Lion, the Witch, and the Wardrobe", p. 201
Ford, Paul (2005), Lucy Pevensie (in The Companion to Narnia: A Complete Guide to the Magical World of C.S. Lewis' The Chronicles of Narnia), HarperSanFrancisco, ISBN 0-06-079127-6
External links[edit]
Lucy Pevensie on IMDb
The Voyage of the Dawn Treader at Narnia Fans
NarniaWeb
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