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 demand the many differing ways the film could take hold. The Epic of Gilgamesh is an age old story whose main attractions will be its sureity and antiquity. To cash in properly on Gilgamesh we must focus on bringing out the idea of Gilgamesh predating similar stories, casting actors who will capture the characters mannerisms while still being easy to adjoin to, and using optimal special effects to combat the preconceived 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, later seeing my Hamlet, moviegoers will have ideas about what to expect from the introduction of a pre-classical work into main stream theater. Likely viewers and critics alike will be expecting an updating, or out and out displacement of the sequence of events in time. However, while we certainly cannot go line 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 plan 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 importance to the narration without being so enthralling that the action is missed. I plan to seek out such Englishmen as Patrick Stewart, Sir Ian Mckellan, Sir Anthony Hopkins, and John Geilgud, and to offer them the opportunity of auditioning for this essential role. The selected actors voice will begin and end the film, while covering 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 image s of Kull the Conqueror, or Conan the Barbarian), and youngish, but with a weathered look to imply warriors traits. The actor must present the narcissistic nihilism of the early Gilgamesh and, later on, boast the more humbled, post-anagnorosis Gilgamesh. For this range of whimsical egotism, to brooding, driven force, we should rely on the talents of Mel Gibson. Gibson gives a full range of acting abilities while looking weathered, and charming at the equal time.