Movie Essays - Filming the Epic of Gilgamesh :: Movie Film comparison compare contrast

Filming the Epic of Gilgamesh In order to undertake a project of this epic magnitude, one must first consider the some(prenominal) differing ways the film could take hold. The Epic of Gilgamesh is an age old news report whose main attractions will be its originality and antiquity. To cash in properly on Gilgamesh we must focus on bringing out the judgment of Gilgamesh predating standardized stories, casting actors who will capture the characters mannerisms while still being light-headed to relate to, and using optimal special effects to combat the conceive notions an audience may have about movies of this kind (thanks to the likes of Kevin Sorbo and Steve Reeves). Primarily the idea is to keep Gilgamesh pure. Naturally, after seeing my Hamlet, moviegoers will have ideas about what to suffer from the introduction of a pre-classical work into main stream theater. Likely viewing audience and critics alike will be expecting an updating, or out and out shift of the sequence of e vents in time. However, while we certainly cannot go take in for line with the text, we must keep Gilgamesh loyal to the original tablets, and as close to Sumerian dress, language, and culture as we can simulate. To preserve the storytelling style of the epics author(s), I image to employ a narrator to guide the action. A recognizable, intelligent, regal, and yet not overpowering voice should be chosen. This voice should give an air of impressiveness to the narration without being so enthralling that the action is missed. I programme to seek out such Englishmen as Patrick Stewart, Sir Ian Mckellan, Sir Anthony Hopkins, and John Geilgud, and to offer them the fortune of auditioning for this essential role. The selected actors voice will begin and end the film, while lotion breaks in the action and explaining confusing sections of the story. The casting of the actual blocking actors is a bit more problematic. Gilgamesh himself is the most challenging character to play in this work. Gilgamesh should be strong (without evoking images of Kull the Conqueror, or Conan the Barbarian), and youngish, but with a weathered flavor at to imply warriors traits. The actor must present the narcissistic nihilism of the earliest Gilgamesh and, later on, display the more humbled, post-anagnorosis Gilgamesh. For this range of whimsical egotism, to brooding, driven force, we should aver on the talents of Mel Gibson. Gibson gives a full range of acting abilities while looking weathered, and charming at the same time.