The director's camera seems anchored rather than fluid, and does not make use of the full vocabulary of cinematography. There are a few exceptions to this sense of stasis, such as when Helen of Troy, the most beautiful woman in the world, bathes in water while the other Trojan women, captives of war, are dying of thirst outside in the heat. The contrast between Helen's moist, soft skin and the weather-beaten, tired face of Hecuba transcends words, and the juxtaposition of the aridness and the water gives added meaning to the text. But these moments are rare.
The theme of "The Trojan Woman," although an ancient play, should present a compelling interest for the present day viewer -- that of the horrors of war and the horrible ways that women are treated during wartime. But few connections are made between the present day and ancient times. There are no contemporary parallels suggested within the film itself to make the ancient people seem meaningful and real to a modern audience, which is necessary given the ancient language and story that tends to dehumanize and distance the viewer from the depicted actions. We are too distant from the events of Troy to identify with the Trojan cause.
The characters endure very extreme situations, like having their child murdered by Greek soldiers or being forced to become concubines. However, the long, formal speeches...
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