Posts Tagged ‘CHARLTON HESTON’
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In Business, Entertainment, History, Military, Politics, Social commentary on July 29, 2026 at 12:10 am
Most of what Americans believe about the ancient world comes from blockbuster movies—many of them dating back to the 1940s, 1950s and 1960s.
Among those beliefs:
THE ISRAELITES WERE THE GOOD GUYS. That’s because Biblical movies were based (often loosely) on Old Testament stories. And the Old Testament was written by Israelites.
- The Israelites were never portrayed as being as ruthless as their enemies, despite this instruction in Jeremiah 51:22-23: “With you I will shatter men and women, old people and children, young men and maidens. With you I will shatter shepherds and flocks, farmers and oxen, captains and rulers.”
- “Sansom and Delilah” (1949) and “The Ten Commandments” (1956), pitted noble Israelites against, respectively, evil Philistines and Egyptians.
- Even when a major figure like King David (Gregory Peck in “David and Bathsheba” (1951) committed major sins like adultery and murder, the movie ended on a high note: God forgives him and sends rain to quench a parched Israel.
A big difference once existed between how audiences treated movies based on Greek mythology and those based on the Bible.
Audiences were content to enjoy films based on Greek myths without taking them seriously. But those watching movies based on Bible stories assumed they were watching history unfolding before them.
This was never truer than audiences’ reaction to director Mel Gibson’s 2004 blockbuster, The Passion of the Christ. Orthodox Christians flocked to the movie, which blamed Jesus’ crucifixion on Jewish high priests, not the Roman governor, Pontius Pilate.
Now audiences seem to believe that “The Odyssey” is delivering history, not mythology. When the first trailer was released in December, critics said that Odysseus’s boat looked like a “Viking ship.”
“I wonder whether we have become inclined to treat mythological material as though it were historical material,” said Susan Deacy, professor of Classics at the University of Roehampton and the author of The Greek Gods and Their Worlds. “Yet the Odyssey is continually being reimagined, with pretty well every age producing its own Homer.”
Many viewers were surprised to hear British actors, such as Tom Holland, speaking with American accents and using modern, contemporary expressions.
But Deacy said this is based on cinematic tradition, not historical accuracy. The ancient Greeks did not speak either modern American English or formal British English. So conversational language may actually be closer to the spirit of Homer’s oral storytelling than the formal style often used in historical films.
Susan Deacy
Susandeacy, CC0, via Wikimedia Commons
Audiences didn’t “treat mythological material as though it were historical material” in 2004, when Wolfgang Peterson’s “Troy” hit movie screens. It featured Brad Pitt as Achilles, Eric Bana as Hector, Orlando Bloom as Paris, Sean Bean as Odysseus and Diane Kruger as Helen.
Among its deviations from Homer and Greek mythology:
- Menelaus, the husband of Helen, is killed by Hector (instead of returning to Sparta with Helen).
- Agamemnon is killed during the fall of Troy by Briseis, the woman once held captive by Achilles. (According to Greek myth, he was murdered, upon his return home, by his wife, Clytemnestra.)
- Achilles infiltrates Troy in the wooden horse—and is killed on the city’s last night. (Greek mythology has him killed at the gates of Troy before the Greeks erected the Trojan horse.)
- Most incredibly, Paris and Helen escape Troy to presumably find happiness somewhere else. (In Greek mythology, Menelaus intends to kill Helen for running off with Paris. But when he sees her, she bares her still-magnificent breasts and yells: “Kill me!” He’s so dumbstruck by her beauty he drops his sword and walks hand-in-hand with her to his ship for the voyage home.)
For those seeking a movie that adhere closely to the Iliad, the winner, hands down, is “The Fury of Achilles” (1962). It’s an Italian drama set in the tenth year of the Trojan War directed by Marino Girolami and starring Gordon Mitchell as Achilles.
It lacks the spectacle of “Troy” (owing to CGI) but is surprisingly sympathetic to its main characters—Achilles, Hector and Priam.
In one deeply moving scene, Achilles tells Briseis that every other Greek soldier hopes to return home, but he is doomed to die at Troy. He knows he has a vulnerable spot, but he doesn’t know where it is. He knows he is fated to kill Hector, Troy’s finest warrior—and that he himself will die soon afterward.
Hector is similarly treated with sympathy, knowing he must die—and that when he does, his beloved city will soon follow him. But then he kills Achilles’ dear companion, Patroclus, and feels obligated to accept Achilles’ challenge to single combat.
And finally there is Priam, king of Troy, who, as in Homer, movingly pleads to Achilles for the body of his son, Hector. Achilles answers: “Your son is luckier than I. He has a father who mourns him. Who will mourn me when I’m gone? My father is dead.”
And elderly Priam replies: “If I am still alive when you are dead, I will mourn you as another son I have lost.”
At which point a sorrowful Achilles hands over the body of Hector to his grieving father—and the movie, like the Iliad, comes to an end.
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In Business, Entertainment, History, Military, Politics, Social commentary on July 28, 2026 at 12:17 am
Once again, the Right is enraged—this time, at a movie.
And not just any movie—“The Odyssey,” which looks to be the blockbuster hit of the summer.
It’s based on the epic poem, allegedly written by Homer, who lived between the eighth and ninth centuries. And while Homer likely earned nothing from his work, the film version of it opened with an estimated $124.5 million in domestic ticket sales and another $139.6 million from overseas,
Its director, Christopher Nolan, garnered the 2023 Best Picture Oscar for “Oppenheimer.” With a production budget of $250 million, it’s among the most expensive R-rated movies ever made. Universal is spending $125 million to market it.
Christopher Nolan
PhilipRomano, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
The movie stars Matt Damon (the “Ryan” in 1998’s “Saving Private Ryan”) as Odysseus, Tom Holland as his son, Telemachus; Anne Hathaway as his long-suffering wife, Penelope; Zendaya as the goddess, Athena; Robert Pattinson as the suitor Antinous and Charlize Theron as the sea nymph Calypso.
So far, so good—for the Right.
But then comes the “controversial” part: Nolan cast Lupita Nyong’o, a black actress, as Helen of Troy and Elliot Page (a “transitioning” actor) as a soldier.
Right-wingers are furious that that a black woman has been cast as Helen.
Right-wing commentator Matt Walsh wrote on X: “Not one person on the planet actually thinks that Lupita Nyong’o is ‘the most beautiful woman in the world.’ But Christopher Nolan knows that he would be called racist if he gave ’the most beautiful woman’ role to a white woman. Nolan is technically talented but a coward.”
Elon Musk charged: “Chris Nolan has lost his integrity.” And he vowed that that before the end of 2026, his AI tool Grok “will make a full-length movie of ‘The Odyssey’ that is historically accurate and true to the art of Homer.”
“By historically accurate, he means whiter than Christmas at Cracker Barrel,” comedian Colman Domingo joked during his stint as guest host on “Jimmy Kimmel Live!”
The Right’s fury can’t be based on the historical record—because the Odyssey is not history, but mythology. And according to ancient Greek myth, Helen was hatched from an egg laid after her mother was visited by Zeus in the form of a swan.
The Helen that Right-wingers envision is a product of Hollywood movie casting.
Troy did exist, and was located in northwestern Anatolia, in present-day Çanakkale province, Turkey. It lay just a few miles south of the Dardanelles strait, which connects the Aegean Sea to the Black Sea. This put the city in a highly strategic position controlling major ancient trade routes.
As a result, the famous Trojan War might well have been fought over conflicts in trade, rather than the alleged seduction/kidnapping of Helen, Queen of Sparta, by Paris, prince of Troy.
On the other hand, wars have been fought over perceived slights to the ego of one ruler by another. In William Shakespeare’s play, Henry V, the French Dauphin mocks Henry by sending him tennis balls, implying that Henry is a callow youth rather than a serious monarch. This leads Henry to invade France.
As for Elliot Page: Transgender surgery did not exist in the time of Homer. But homoerotic relationships certainly did—most famously among Greek soldiers.
Today, Right-wingers like Secretary of Defense Pete Hegseth fear that homosexuals make poor soldiers. But their choice in sex partners did not prevent the army of Alexander the Great from conquering most of the known world of his time.
The truth is that most of what Americans think they know about the ancient world comes not from scholarly books but blockbuster movies—many of them dating back to the 1940s, 1950s and 1960s.
Among those beliefs:
THE ANCIENT ROMANS SPOKE WITH BRITISH ACCIDENTS. That’s because British actors played Roman aristocrats in so many movies during the 1950s and 1960s.
- Laurence Oliver, Peter Ustinov and Charles Laughton played high-born Romans in “Spartacus” (1960) and Richard Burton and Rex Harrison played them in “Cleopatra” (1963).
- Romans didn’t speak English. They spoke Latin—which at that time was the language of world commerce. Today, it’s not used as a primary mother tongue in any community. A movie whose characters spoke Latin would find itself with an extremely small audience.
Laurence Oliver in “Spartacus”
SPARTANS WERE THE GOOD GUYS. “The 300 Spartans” (1962) and “300” (2006) celebrate the three-day battle of Thermopylae, where 300 Spartans and 6,700 other Greeks held the narrow pass against a huge Persian army. If the Spartans existed today, these films could serve as recruiting advertisements for their skill at war.
So far, so good.
What these films don’t say:
- The Spartans ruled a slave empire whose people farmed the land, supplied food and served as military laborers. Their forced labor gave Spartans the freedom to focus completely on military training.
- Once a year, Spartans were allowed to murder any helot they desired, just to remind their slaves who was boss.
- Spartan men were required to live apart from their wives in all-male barracks—and sneak out to have conjugal visits with their wives.
- Homosexuality played a major role in the lives of Spartans.
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In Entertainment, History, Military, Politics, Social commentary on June 29, 2026 at 12:10 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish Mexico as a French colony under would-be emperor Archduke Maximilian 1.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his mind around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men whose character an audience can truly admire and identify with:
- The charm of Benjamin Tyreen (Richard Harris), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez (Mario Adorf);
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of impetuous Lt. Graham (Jim Hutton); and
- The stoic endurance of one-armed Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Major Dundee (Charlton Heston)
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers. Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
Sam Peckinpah
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this new version, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s career of playing heroes—such as Moses and El Cid—it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero.
If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War.
Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, stripped of the glory and (later) treasured memories of the Civil War.
Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
And America would learn to project its formidable military power at great cost. Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, asks Dundee: “But who do you answer to?”
It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one often-disastrous conflict to the next.
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In Bureaucracy, History, Law Enforcement, Politics, Social commentary on January 19, 2026 at 12:13 am
Two stories—one fictitious, the other historical.
Story #1: In the 1961 historical epic, “El Cid,” Rodrigo Diaz de Vivar, known as “El Cid”—“The Lord”—besieges the Spanish city of Valencia, which has been captured by the Moors.
Months have passed. The city’s population is starving and without hope.
Then, one day, El Cid (Charlton Heston) calls out over the city’s walls: “Soldiers and citizens of Valencia! We are not your enemy! Ben Yusof [the powerful emir who plans to conquer Spain with an invading army] is your enemy!
“Join us! We bring you peace! We bring you freedom! We bring you bread!”
Suddenly El Cid’s Spanish catapults spring into action—loaded not with stones but loaves of bread. The loaves land in the city’s streets, where starving citizens and soldiers greedily devour them.
Then those citizens attack the bodyguards of the well-fed emir ruling Valencia—and throw the emir himself from a high wall.
The army of El Cid marches peacefully into the city.
Story #2: In Book Three, Chapter 22 of his classic masterwork, The Discourses, Niccolo Machiavelli offers the following: “An Act of Humanity Prevailed More With the Falacians Than All the Power of Rome.”
Marcus Furius Camillus, a Roman general, was besieging the city of the Faliscians, and had surrounded it. A teacher charged with the education of the children of some of the noblest families of that city decided to ingratiate himself with Camillus by leading those children into the Roman camp.
Presenting them to Camillus ,the teacher said to him, “By means of these children as hostages, you will be able to compel the city to surrender.”
Camillus not only declined the offer but went one step further. He ordered the teacher stripped and his hands tied behind his back. Then Camillus had a rod put into the hands of each of the children and directed them to whip the teacher all the way back to the city.
Upon learning this, the citizens of Faliscia were so much touched by the humanity and integrity of Camillus, that they surrendered the place to him without any further defense.
Summing up the meaning of this, Machiavelli writes: “This example shows that an act of humanity and benevolence will at all times have more influence over the minds of men than violence and ferocity. It also proves that provinces and cities which no armies…could conquer, have yielded to an act of humanity, benevolence, chastity or generosity.
“…History also shows us how much the people desire to find such virtues in great men, and how much they are extolled by historians and biographers of princes….Amongst these, Xenophon takes great pains to show how many victories, how much honor and fame, Cyrus gained by his humanity and affability, and by his not having exhibited a single instance of pride, cruelty or luxuriousness, nor of any of the other vices that are apt to stain the lives of men.”
Niccolo Machiavelli
These stories—the first the product of a movie screenwriter’s imagination, the second recorded by a master political scientist and historian—remain highly relevant today.
On May 25, 2020, George Floyd, a black unemployed restaurant security guard, was murdered by Derek Chauvin, a white Minneapolis police officer. While Floyd was handcuffed and lying face down on a city street during an arrest, Chauvin kept his knee on the right side of Floyd’s neck for eight minutes and 46 seconds.
Cities across the United States erupted in mass protests over Floyd’s death—and police killings of black victims generally. Most of these demonstrations proved peaceful.
But cities such as Los Angeles, San Francisco and New York City saw stores looted, vandalized and/or burned. In response, President Donald Trump called for harsh policing, telling governors in a nationwide conference call that they must “dominate” protesters or be seen as “weak.”
To drive home his point, Trump ordered police and National Guard troops to violently remove peaceful protesters from Lafayette Square, which borders St. John’s Church near the White House.
The purpose of the removal: To allow Trump to have a photo opportunity outside the church.
“I imposed a curfew at 7pm,” tweeted Washington, D.C. Mayor Muriel Bowser. “A full 25 minutes before the curfew & w/o provocation, federal police used munitions on peaceful protestors in front of the White House, an act that will make the job of @DCPoliceDept officers more difficult. Shameful!”
Contrast that with the example of Sheriff Christopher Swanson of Genesee County, Michigan.
Sheriff Christopher Swanson
Confronting a mass of aroused demonstrators in Flint Township on May 30, Swanson responded: “We want to be with you all for real.”
So Swanson took his helmet off. His deputies laid their batons down.
“I want to make this a parade, not a protest. So, you tell us what you need to do.”
“Walk with us!” the protesters shouted.
“Let’s walk, let’s walk,” said Swanson.
Cheering and applause resounded.
“Let’s go, let’s go,” Swanson said as he and the cheering crowd proceeded. “Where do you want to walk? We’ll walk all night.”
And Swanson and his fellow officers walked in sympathy with the protesters.
No rioting followed.
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In Bureaucracy, History, Law Enforcement, Politics, Social commentary on March 21, 2025 at 12:12 am
Two stories—one fictitious, the other historical.
Story #1: In the 1961 historical epic, “El Cid,” Rodrigo Diaz de Vivar, known as “El Cid”—“The Lord”—besieges the Spanish city of Valencia, which has been captured by the Moors.
Months have passed. The city’s population is starving and without hope.
Then, one day, El Cid (Charlton Heston) calls out over the city’s walls: “Soldiers and citizens of Valencia! We are not your enemy! Ben Yusof [the powerful emir who plans to conquer Spain with an invading army] is your enemy!
“Join us! We bring you peace! We bring you freedom! We bring you bread!”
Suddenly El Cid’s Spanish catapults spring into action—loaded not with stones but loaves of bread. The loaves land in the city’s streets, where starving citizens and soldiers greedily devour them.
Then those citizens attack the bodyguards of the well-fed emir ruling Valencia—and throw the emir himself from a high wall.
The army of El Cid marches peacefully into the city.
Story #2: In Book Three, Chapter 22 of his classic masterwork, The Discourses, Niccolo Machiavelli offers the following: “An Act of Humanity Prevailed More With the Falacians Than All the Power of Rome.”
Marcus Furius Camillus, a Roman general, was besieging the city of the Faliscians, and had surrounded it. A teacher charged with the education of the children of some of the noblest families of that city decided to ingratiate himself with Camillus by leading those children into the Roman camp.
Presenting them to Camillus ,the teacher said to him, “By means of these children as hostages, you will be able to compel the city to surrender.”
Camillus not only declined the offer but went one step further. He ordered the teacher stripped and his hands tied behind his back. Then Camillus had a rod put into the hands of each of the children and directed them to whip the teacher all the way back to the city.
Upon learning this, the citizens of Faliscia were so much touched by the humanity and integrity of Camillus, that they surrendered the place to him without any further defense.
Summing up the meaning of this, Machiavelli writes: “This example shows that an act of humanity and benevolence will at all times have more influence over the minds of men than violence and ferocity. It also proves that provinces and cities which no armies…could conquer, have yielded to an act of humanity, benevolence, chastity or generosity.
“…History also shows us how much the people desire to find such virtues in great men, and how much they are extolled by historians and biographers of princes….Amongst these, Xenophon takes great pains to show how many victories, how much honor and fame, Cyrus gained by his humanity and affability, and by his not having exhibited a single instance of pride, cruelty or luxuriousness, nor of any of the other vices that are apt to stain the lives of men.”
Niccolo Machiavelli
These stories—the first the product of a movie screenwriter’s imagination, the second recorded by a master political scientist and historian—remain highly relevant today.
On May 25, 2020, George Floyd, a black unemployed restaurant security guard, was murdered by Derek Chauvin, a white Minneapolis police officer. While Floyd was handcuffed and lying face down on a city street during an arrest, Chauvin kept his knee on the right side of Floyd’s neck for eight minutes and 46 seconds.
Cities across the United States erupted in mass protests over Floyd’s death—and police killings of black victims generally. Most of these demonstrations proved peaceful.
But cities such as Los Angeles, San Francisco and New York City saw stores looted, vandalized and/or burned. In response, President Donald Trump called for harsh policing, telling governors in a nationwide conference call that they must “dominate” protesters or be seen as “weak.”
To drive home his point, Trump ordered police and National Guard troops to violently remove peaceful protesters from Lafayette Square, which borders St. John’s Church near the White House.
The purpose of the removal: To allow Trump to have a photo opportunity outside the church.
“I imposed a curfew at 7pm,” tweeted Washington, D.C. Mayor Muriel Bowser. “A full 25 minutes before the curfew & w/o provocation, federal police used munitions on peaceful protestors in front of the White House, an act that will make the job of @DCPoliceDept officers more difficult. Shameful!”
Contrast that with the example of Sheriff Christopher Swanson of Genesee County, Michigan.
Sheriff Christopher Swanson
Confronting a mass of aroused demonstrators in Flint Township on May 30, Swanson responded: “We want to be with you all for real.”
So Swanson took his helmet off. His deputies laid their batons down.
“I want to make this a parade, not a protest. So, you tell us what you need to do.”
“Walk with us!” the protesters shouted.
“Let’s walk, let’s walk,” said Swanson.
Cheering and applause resounded.
“Let’s go, let’s go,” Swanson said as he and the cheering crowd proceeded. “Where do you want to walk? We’ll walk all night.”
And Swanson and his fellow officers walked in sympathy with the protesters.
No rioting followed.
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In Entertainment, History, Military, Politics, Social commentary on March 14, 2025 at 12:06 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish the Austrian Archduke Maximillian 1 as emperor of Mexico.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his hands around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men you can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harrs), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez;
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in a young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Charlton Heston as Major Dundee
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into French-occupied Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being German-occupied France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers.
Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s record of playing heroes, it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero. If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War:
- Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, shorn of the glory and (later) treasured memories of the Civil War.
- Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
- Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
- America would learn to project its formidable military power at great cost.
Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one conflict to the next.
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In Bureaucracy, History, Military, Politics, Social commentary on January 28, 2025 at 12:06 am
January 26, 2025, marked the 140th anniversary of the fall of Khartoum, the Sudanese city that sits on the banks of the White and Blue Nile Rivers.
The siege and fall of Khartoum is one of the truly epic stories of military history.
From March 18, 1884, to January 26, 1885, the charisma and military genius of one man—British General Charles George Gordon—held at bay an army of thousands of fanatical Islamics intent on slaughtering everyone in the city. 
Khartoum in 1888—four years after the siege
At stake were the lives of Khartoum’s 30,000 residents.
By comparison: The defenders of the Alamo—a far better-known battle—numbered no more than 250. And the siege of the San Antonio mission lasted only 13 days (February 23 to March 6, 1836) against an army of about 2,000 Mexicans.
The Alamo
Gordon’s story may seem antiquated. But it resembles the efforts Republicans made to pressure the Obama administration to commit ground forces to “freeing” Syria of its longtime dictator, “President” Bashir al-Assad.
The neocons of the George W. Bush Administration plunged the United States into an unprovoked war against Iraq in 2003. After Baghdad quickly fell, Americans cheered, thinking the war was over and the troops would soon return home.
Suddenly, American soldiers found themselves waging a two-front war in the same country: Fighting an Iraqi insurgency to throw them out, while trying to suppress growing sectarian warfare between Sunni and Shia Muslims.
And then, with Syria, Americans were being urged to plunge headfirst into a conflict they knew nothing about—and in which they had absolutely no stake.
On one side was the Ba’ath regime of Bashir al-Assad, supported by Russia, Iran, Hizbollah and elements in the Iraqi government. Hizbollah is comprised of Shiite Muslims, who form a minority of Islamics.
A sworn enemy of Israel, it has kidnapped scores of Americans suicidal enough to visit Lebanon and truck-bombed the Marine barracks in Beirut in 1983, killing 299 Americans.
Flag of Hizbollah
Al-Qaeda, on the other hand, is made up of Sunni Muslims, who form the majority of that religion.
It is intolerant of non-Sunni Muslims and has instigated violence against them. It denounces them as “takfirs”–heretics—and thus worthy of extermination.
Flag of Al-Qaeda
In short, it’s a Muslim-vs.-Muslim “holy war.
It’s all very reminiscent of events in the 1966 epic film, Khartoum, starring Charlton Heston as British General Charles George Gordon.
In 1884, the British government sends Gordon, a real-life hero of the Victorian era, to evacuate the Sudanese city of Khartoum.
Mohammed Achmed, a previously anonymous Sudanese, has proclaimed himself “The Madhi” (“The Expected One”) and raised the cry of jihad.
The Madhi (played by Lawrence Olivier) intends to drive all foreigners (of which the English are the largest group) out of Sudan and exterminate all those Muslims who do not practice his “pure” version of Islam.
Charlton Heston as Gordon (left); Laurence Oliver as the Madhi (right)
Gordon arrives in Khartoum to find he’s not fighting a rag-tag army of peasants. Instead, the Madhi is a highly intelligent military strategist.
And Gordon, an evangelical Christian, also finds he has underestimated the Madhi’s religious fanaticism: “I seem to have suffered from the delusion that I had a monopoly on God.”
A surprised Gordon finds himself and 30,000 Sudanese trapped in Khartoum when the Madhi’s forces suddenly appear. He sends off messengers and telegrams to the British Government, begging for a military relief force.
But the British Government wants nothing to do with the Sudan. It has sent Gordon there as a sop to British public opinion that “something” had to be done to quell the Madhist uprising.
The siege continues and tightens.
In Britain, the public hails Gordon as a Christian hero and demands that the Government send a relief expedition to save him.
Prime Minister William Gladstone finally sends a token force—which arrives in Khartoum two days after the city has fallen to the Madhi’s forces.
Gordon, standing at the top of a staircase and coolly facing down his dervish enemies, is speared to death.
George W. Joy’s famous—and romanticized—painting of “The Death of Gordon”
(Actually, the best historical evidence indicates that Gordon fought to the last with pistol and sword before being overwhelmed by his Islamic enemies.)
When the news reaches England, Britons mourn—and then demand vengeance for the death of their hero.
The Government, which had sought to wash its hands of the poor, military unimportant Sudan, suddenly has to send an army to avenge Gordon.
As the narrator of Khartoum intones at the close of the film: “For 15 years the British paid the price with shame and war.”
There is a blunt lesson for Americans to learn from this episode—and from the 1966 movie Khartoum itself.
Americans have been fighting in the Middle East since 2001—first in Afghanistan to destroy Al-Qaeda, and then in Iraq, to pursue George W. Bush’s vendetta against Saddam Hussein. They continue to fight in Syria against ISIS.
The United States faces a crumbling infrastructure, millions living in poverty and trillions of dollars in debt.
It’s time for Americans to clean up their own house before worrying about the messes in other nations—especially those wholly alien to American values.
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In Bureaucracy, History, Law Enforcement, Politics, Social commentary on August 29, 2024 at 12:12 am
Two stories—one fictitious, the other historical.
Story #1: In the 1961 historical epic, “El Cid,” Rodrigo Diaz de Vivar, known as “El Cid”—“The Lord”—besieges the Spanish city of Valencia, which has been captured by the Moors.
Months have passed. The city’s population is starving and without hope.
Then, one day, El Cid (Charlton Heston) calls out over the city’s walls: “Soldiers and citizens of Valencia! We are not your enemy! Ben Yusof [the powerful emir who plans to conquer Spain with an invading army] is your enemy!
“Join us! We bring you peace! We bring you freedom! We bring you bread!”
Suddenly El Cid’s Spanish catapults spring into action—loaded not with stones but loaves of bread. The loaves land in the city’s streets, where starving citizens and soldiers greedily devour them.
Then those citizens attack the bodyguards of the well-fed emir ruling Valencia—and throw the emir himself from a high wall.
The army of El Cid marches peacefully into the city.
Story #2: In Book Three, Chapter 22 of his classic masterwork, The Discourses, Niccolo Machiavelli offers the following: “An Act of Humanity Prevailed More With the Falacians Than All the Power of Rome.”
Marcus Furius Camillus, a Roman general, was besieging the city of the Faliscians, and had surrounded it. A teacher charged with the education of the children of some of the noblest families of that city decided to ingratiate himself with Camillus by leading those children into the Roman camp.
Presenting them to Camillus the teacher said to him, “By means of these children as hostages, you will be able to compel the city to surrender.”
Camillus not only declined the offer but went one step further. He ordered the teacher stripped and his hands tied behind his back. Then Camillus had a rod put into the hands of each of the children and directed them to whip the teacher all the way back to the city.
Upon learning this, the citizens of Faliscia were so much touched by the humanity and integrity of Camillus, that they surrendered the place to him without any further defense.
Summing up the meaning of this, Machiavelli writes: “This example shows that an act of humanity and benevolence will at all times have more influence over the minds of men than violence and ferocity. It also proves that provinces and cities which no armies…could conquer, have yielded to an act of humanity, benevolence, chastity or generosity.
“…History also shows us how much the people desire to find such virtues in great men, and how much they are extolled by historians and biographers of princes….Amongst these, Xenophon takes great pains to show how many victories, how much honor and fame, Cyrus gained by his humanity and affability, and by his not having exhibited a single instance of pride, cruelty or luxuriousness, nor of any of the other vices that are apt to stain the lives of men.”
Niccolo Machiavelli
These stories—the first the product of a movie screenwriter’s imagination, the second recorded by a master political scientist and historian—remain highly relevant today.
On May 25, 2020, George Floyd, a black unemployed restaurant security guard, was murdered by Derek Chauvin, a white Minneapolis police officer. While Floyd was handcuffed and lying face down on a city street during an arrest, Chauvin kept his knee on the right side of Floyd’s neck for eight minutes and 46 seconds.
Cities across the United States erupted in mass protests over Floyd’s death—and police killings of black victims generally. Most of these demonstrations proved peaceful.
But cities such as Los Angeles, San Francisco and New York City saw stores looted, vandalized and/or burned. In response, President Donald Trump called for harsh policing, telling governors in a nationwide conference call that they must “dominate” protesters or be seen as “weak.”
To drive home his point, Trump ordered police and National Guard troops to violently remove peaceful protesters from Lafayette Square, which borders St. John’s Church near the White House.
The purpose of the removal: To allow Trump to have a photo opportunity outside the church.
“I imposed a curfew at 7pm,” tweeted Washington, D.C. Mayor Muriel Bowser. “A full 25 minutes before the curfew & w/o provocation, federal police used munitions on peaceful protestors in front of the White House, an act that will make the job of @DCPoliceDept officers more difficult. Shameful!”
Contrast that with the example of Sheriff Christopher Swanson of Genesee County, Michigan.
Sheriff Christopher Swanson
Confronting a mass of aroused demonstrators in Flint Township on May 30, Swanson responded: “We want to be with you all for real.”
So Swanson took his helmet off. His deputies laid their batons down.
“I want to make this a parade, not a protest. So, you tell us what you need to do.”
“Walk with us!” the protesters shouted.
“Let’s walk, let’s walk,” said Swanson.
Cheering and applause resounded.
“Let’s go, let’s go,” Swanson said as he and the cheering crowd proceeded. “Where do you want to walk? We’ll walk all night.”
And Swanson and his fellow officers walked in sympathy with the protesters.
No rioting followed.
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In Entertainment, History, Military, Politics, Social commentary on March 25, 2024 at 12:10 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish Mexico as a French colony under would-be emperor Archduke Maximilian 1.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his mind around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men an audience can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harris), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez (Mario Adorf);
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of impetuous Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Major Dundee (Charlton Heston)
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers. Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
Sam Peckinpah
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this new version, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s career of playing heroes—such as Moses and El Cid—it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero.
If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War.
Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, stripped of the glory and (later) treasured memories of the Civil War.
Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
And America would learn to project its formidable military power at great cost. Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”
It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one often-disastrous conflict to the next.
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In Entertainment, History, Military, Politics, Social commentary on August 28, 2023 at 12:05 am
Major Dundee is a 1965 Sam Peckinpah Western focusing on a Union cavalry officer (Charlton Heston) who leads a motley troop of soldiers into Mexico to rescue three children kidnapped by Apaches.
Along the way they liberate Mexican villagers and clash with French lancers trying to establish Mexico as a French colony under would-be emperor Archduke Maximilian 1.
The Wild Bunch is universally recognized as Peckinpah’s greatest achievement. It has certainly had a far greater impact on audiences and critics than Major Dundee. According to Heston, this was really the movie Peckinpah wanted to make while making Dundee, but he couldn’t quite get his mind around it.
As a result, Dundee’s virtues have been tragically overlooked. It has a larger cast of major characters than Bunch, and these are men an audience can truly like and identify with:
- The charm of Benjamin Tyreen (Richard Harris), a Confederate lieutenant forced into Union service;
- The steady courage of Sergeant Gomez;
- The quiet dignity of Aesop (Brock Peters), a black soldier;
- The quest for maturity in young, untried bugler Tim Ryan (Michael Anderson, Jr.);
- The on-the-job training experience of impetuous Lt. Graham (Jim Hutton); and
- The stoic endurance of Indian scout Sam Potts (James Coburn).
These men are charged with a dangerous and dirty mission, and do it as well as they can, but you wouldn’t fear inviting them to meet your family.
Major Dundee (Charlton Heston)
That was definitely not the case with The Wild Bunch, four hardened killers prepared to rip off anyone, anytime, and leave a trail of bodies in their wake. The only place where you would have felt safe seeing them, in real-life, was behind prison bars.
The Wild Bunch
Dundee is an odyssey movie, in the same vein as Saving Private Ryan. Both films start with a battle, followed by the disappearance of characters who need to be searched for and brought back to safety.
Just as Dundee assembles a small force to go into Mexico, so, too, does Captain John Miller (Tom Hanks) do the same, with his hunting ground being France.
Dundee’s men retrieve the kidnapped children and survive a near-fatal battle with Indians. Miller’s men twice clash with the Germans before finding their quarry, James Ryan.
Before Dundee can return to the United States, he must face and defeat a corps of French soldiers. Before Miller can haul Ryan back to safety, he must repulse a German assault.
Both groups of soldiers—Dundee’s and Miller’s—are transformed by their experiences in ways neither group could possibly articulate. (Miller, being a highly literate schoolteacher, would surely do a better job of this than the tight-jawed Dundee.)
Dundee’s soldiers return to a United States that’s just ended its Civil War with a Union victory—and the death of slavery. Miller’s soldiers return to a nation that is now a global superpower.
Of course, Ryan was fortunate in having Steven Spielberg as its director. With his clout, there was no question that Ryan would emerge as the film he wanted.
Peckinpah lacked such clout. And he fought with everyone, including the producer, Jerry Bressler, who ultimately held the power to destroy his film. This guaranteed that his movie would emerge far differently than he had envisioned.
Sam Peckinpah
In 2005, an extended version of Dundee was released, featuring 12 minutes of restored footage. (Much of the original footage was lost after severe cuts to the movie.)
In this new version, we fully see how unsympathetic a character the martinet Dundee really is. Owing to Heston’s career of playing heroes—such as Moses and El Cid—it’s easy to overlook Dundee’s arrogance and lethal fanaticism and automatically view him as a hero.
If he is indeed that, he is a hero with serious flaws.
And his self-imposed mission poses questions for us today:
- Where is the line between professional duty and personal fanaticism?
- How do we balance the success of a mission against its potential costs—especially if they prove appalling?
- At what point—if any—does personal conscience override professional obligations?
Whether intentionally or not, in Major Dundee, Peckinpah laid out a microcosm of the American history that would immediately follow the Civil War.
Former Confederates and Unionists would forego their regional animosities and fight against a recognized mutual enemy—the Indians. This would prove a dirty and drawn-out war, stripped of the glory and (later) treasured memories of the Civil War.
Just as Dundee’s final battle with French lancers ended with an American victory won at great cost, so, too, would America’s forays into the Spanish-American War and World Wars 1 and 11 prove the same.
Ben Tyreen’s commentary on the barbarism of French troops (“Never underestimate the value of a European education”) would be echoed by twentieth-century Americans uncovering the horrors of Dachau and Buchenwald.
And America would learn to project its formidable military power at great cost. Toward the end of the movie, Teresa Santiago (Senta Berger), the ex-patriot Austrian widow, would ask Dundee: “But who do you answer to?”
It is a question that still vividly expresses the view of the international community as this superpower colossus hurtles from one often-disastrous conflict to the next.
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THE RIGHT’S NEW TARGET: “THE ODYSSEY”–PART TWO (END)
In Business, Entertainment, History, Military, Politics, Social commentary on July 29, 2026 at 12:10 amMost of what Americans believe about the ancient world comes from blockbuster movies—many of them dating back to the 1940s, 1950s and 1960s.
Among those beliefs:
THE ISRAELITES WERE THE GOOD GUYS. That’s because Biblical movies were based (often loosely) on Old Testament stories. And the Old Testament was written by Israelites.
A big difference once existed between how audiences treated movies based on Greek mythology and those based on the Bible.
Audiences were content to enjoy films based on Greek myths without taking them seriously. But those watching movies based on Bible stories assumed they were watching history unfolding before them.
This was never truer than audiences’ reaction to director Mel Gibson’s 2004 blockbuster, The Passion of the Christ. Orthodox Christians flocked to the movie, which blamed Jesus’ crucifixion on Jewish high priests, not the Roman governor, Pontius Pilate.
Now audiences seem to believe that “The Odyssey” is delivering history, not mythology. When the first trailer was released in December, critics said that Odysseus’s boat looked like a “Viking ship.”
“I wonder whether we have become inclined to treat mythological material as though it were historical material,” said Susan Deacy, professor of Classics at the University of Roehampton and the author of The Greek Gods and Their Worlds. “Yet the Odyssey is continually being reimagined, with pretty well every age producing its own Homer.”
Many viewers were surprised to hear British actors, such as Tom Holland, speaking with American accents and using modern, contemporary expressions.
But Deacy said this is based on cinematic tradition, not historical accuracy. The ancient Greeks did not speak either modern American English or formal British English. So conversational language may actually be closer to the spirit of Homer’s oral storytelling than the formal style often used in historical films.
Susan Deacy
Susandeacy, CC0, via Wikimedia Commons
Audiences didn’t “treat mythological material as though it were historical material” in 2004, when Wolfgang Peterson’s “Troy” hit movie screens. It featured Brad Pitt as Achilles, Eric Bana as Hector, Orlando Bloom as Paris, Sean Bean as Odysseus and Diane Kruger as Helen.
Among its deviations from Homer and Greek mythology:
For those seeking a movie that adhere closely to the Iliad, the winner, hands down, is “The Fury of Achilles” (1962). It’s an Italian drama set in the tenth year of the Trojan War directed by Marino Girolami and starring Gordon Mitchell as Achilles.
It lacks the spectacle of “Troy” (owing to CGI) but is surprisingly sympathetic to its main characters—Achilles, Hector and Priam.
In one deeply moving scene, Achilles tells Briseis that every other Greek soldier hopes to return home, but he is doomed to die at Troy. He knows he has a vulnerable spot, but he doesn’t know where it is. He knows he is fated to kill Hector, Troy’s finest warrior—and that he himself will die soon afterward.
Hector is similarly treated with sympathy, knowing he must die—and that when he does, his beloved city will soon follow him. But then he kills Achilles’ dear companion, Patroclus, and feels obligated to accept Achilles’ challenge to single combat.
And finally there is Priam, king of Troy, who, as in Homer, movingly pleads to Achilles for the body of his son, Hector. Achilles answers: “Your son is luckier than I. He has a father who mourns him. Who will mourn me when I’m gone? My father is dead.”
And elderly Priam replies: “If I am still alive when you are dead, I will mourn you as another son I have lost.”
At which point a sorrowful Achilles hands over the body of Hector to his grieving father—and the movie, like the Iliad, comes to an end.
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