The story of the Trojan War has been told countless times in numerous forms: poetry, literature, film and, of course, television. Moving, tragic, and exhilarating, this narrative has produced works of great genius and lasting power (The Iliad) but also, unfortunately, some rather lackluster interpretations (Troy). Now, we have Troy: Fall of a City, a joint venture between Netflix and the BBC. More family drama than epic per se, the series nevertheless provides a stirring, at times even heart-wrenching, experience of this eternal myth.
One of the first things that struck me about this new retelling of the ancient myth is the impact that the medium of television has on the way in which the story is told. Whereas epic films tend to focus on huge battles, sweeping vistas, and larger-than-life heroes, television dramas focus more on personal relationships that nevertheless have enormous political and historical consequences. Thus it is that Fall of a City, while populated by the requisite heroes of antiquity–Agamemnon, Menelaus, Hector, Priam, Paris, Helen, Hecuba–manages to paint them as individuals with well-rounded personalities rather than archetypes. These are deeply-flawed human beings caught up in events and emotions that they cannot control but which will have a momentous impact on their world.
Somewhat surprisingly, it is Paris who is the center of the narrative. Portrayed by a strikingly handsome Louis T. Hunter, the Trojan prince raised by shepherds is a far more charismatic, and heroic, character than he traditionally appears in modern interpretations. True, he is quite pretty, but it is a more traditionally “masculine” sort than, say, Orlando Bloom, who brought a signature softness to the role. As a result, Troy paints this Paris (who it prefers to refer to as Alexander) in a more martial light. Far from sheltering under Hector’s blazing military glory, Alexander forges his own destiny, even stepping into his brother’s shoes when the former meets his agonizing death at the hands of Achilles.
Though Paris commands most of the attention, the series also adeptly fleshes out the struggles, both physical and emotional, of the other major players in this drama. What’s more, it imbues them with a deeply resonant emotional impact, so that the deaths that we know are coming–and, of course, the inevitable fall of Troy itself–are incredibly wrenching. If you don’t shed tears when Hector meets his fate at the hands of Achilles, then I don’t know what to tell you.
Because it has more running time through which to work, Troy reveals the competing and yet mutually-reinforcing causes of antiquity’s most famous conflict. While of course Paris’s taking of Helen (here portrayed as willing on her part), is the stark to the tinder, it is made clear that there have long been resentments and jealousies on the part of the Greeks, particularly Agamemnon. And, of course, there are also the gods, who periodically interfere with the affairs of humans, often to work through their own contentious relationships.
If this series proves anything, it’s that sometimes television is better at bringing out the fundamentally human drama at the heart of the ancient stories. Eight hours of running time allows us a significantly greater investment in these characters and their relationships, whether that be the psychologically complex Helen (a refreshing change), the deeply loving relationship between Hector and Andromache, or the tempestuous (but physical and sexual) relationship between Achilles and Patroclus. And, while we’re at it, let me just say how absolutely thrilled I was to see an Achilles and Patroclus depicted as lovers rather than as “cousins” or some other, equally infuriating euphemism.
In fact, I would go so far as to say that Troy works more in the idiom of the tragic than the epic, at least as these have taken shape within modern media. These are characters determined to make the best decisions that they can, even though each are condemned to follow a path they cannot shape to their own ends. Even the gods, who supposedly have more power than their mortal counterparts, seem unable to affect the course of the prophecy that has already foretold the doom of both Paris and his city.
Furthermore, Troy strips away the patina of legitimacy that typically adheres to Greek epic heroes, so that although Agamemnon, Menelaus, and even Achilles and Odysseus all exhibit exactly the types of behaviour that we have come to expect from our epic heroes, their violence remains coded as deeply sociopathic. Even Odysseus, arguably the most sympathetic of the Greek heroes, lies and deceives in the service of what he deems a higher purpose, even as he recognizes that Agamemnon and Menelaus are the worst that Greece can produce. Their lies are largely for their own gain, regardless of the cost to others. Achilles is ultimately deceived by his fellow Greeks into launching an all-out assault on the Trojans, an action which leads almost directly to his death at the hands of Paris.
As such, Troy is also a critique of the deeply violent and aggressive epic masculinity that has characterized epic films since at least Gladiator, a critique I’ve noticed in a number of ancient world films produced in the last couple of years. This ambiguity about the value and social function of epic heroism punctures even the end of the film, for while the Greeks have emerged victorious, theirs is a pyrrhic victory, a fact rendered explicit by Odysseus’ craggy, sad visage staring off into the distance at the very end. Any savvy viewer knows that almost of all of them will find their lives irrevocably marred by their actions.
All in all, I enjoyed Troy: Fall of a City for what it was, not for what I attempted to force it to be. Rather than holding it up to the standard of the epic–with its grandeur, its battles, its vast scope–I accepted this as a television drama. As such, I think it has much to tell us about how our expectations of epic heroism have changed and how disenchanted we have become with an ancient model that seems curiously out of touch with the modern world.