Zack Snyder has somehow risen though the ranks of Hollywood by merely possessing the skills of a B-movie director. His films which are usually colour-graded to hell, have all the artistic merit of a soft-core porn romp, and mimic the aesthetics of a noughties pop music video. This slow-motion junkie is obsessed with high contrast, grain, noise filters and his visual crap-fests appeal only to the effluence of society.
One of the worst films this hack ever created was 300, a film which masqueraded as an allegory of the small defeating the big. 300 in reality was no David vs. Goliath tale, but a highly prejudicial piece of propaganda which relished the idea of white defeating black. The entire movie was littered with historical inaccuracy and caricatures of ethnic minorities. Through the use of so-called artistic licence, Snyder created a film which heaved with ethnic and religious prejudice and worst of all, racial hatred.
In the opening scene of the film, an “attractive” white teenager fights an “ugly” black, wild, savage wolf. From this point on, the audience is bombarded with imagery which shows the white race as superior. We are told that the white Arcadians are artistic and hardworking by stating their professions (sculptor, blacksmith, and potter). We are shown white Spartans as strong, wise, and mighty. Even the Spartan girls who are chosen as oracles (played by a ginger-haired white woman) are described as “beautiful”. The Persians in contrast are shown as evil mindless slaves.
The Persians in the film are essentially an amalgam of all the races in the world except for white. With their varying shades of brown skin and varying shades of dark dress, covered in random ethnic clothing and kicking up sand; they represent every “enemy” or opposing force the white race has ever encountered throughout history. The film runs through a list of these minorities and makes each of them look inferior to western Caucasians.
The Immortals are depicted as East Asians who wear black to reinforce the idea of evil. There are Middle-Eastern or North-African magicians who ride rhinos. Then there are South Asian warriors who clutch scimitars and ride Elephants. Indeed, the narrator describes the Persian army as coming from the “darkest corners of Xerxes’ Empire” which translates as every country where people of colour exist. Snyder then adds to this mix of propaganda and caricatured villainy; a Baphomet-style goat character and a scarred lesbian harem complete with amputee courtesans packed into a shisha tent. This adds fuel to the idea of the evil and devilish Middle East, who in real-life at the time of the film’s release was at the height of war with a white America. With the racist line “we rescue a world from mysticism and tyranny” being spoken at the end by a white Spartan, this also parallels the so-called “liberating” of the Middle East.
The few times we are shown a white “bad-guy” in the film, we are shown a deformed or distorted character which associates villainy with bad genetics. The white Spartan who sells-out to Xerxes is a disabled man, and even the Greek Ephors are described as inbred and having “souls as black as hell” by the narrator. Any white Greek who is evil therefore, is through the ideas of eugenics and genetic traits, shown in some way to be un-white.
The racial and ethnic miscasting of the Greek and Spartan characters only adds to these ideas of western and white superiority. With a cast of white British actors with British accents playing the Greeks and Spartans, we the audience subliminally equate all historical events as having kinship with the modern-day western Caucasian. Similar to Jesus’ face being white-washed in paintings, we are slowly being sold a fake history. We are being brainwashed into thinking that any crusade against nations and people of colour is somehow just, but the killing of whites is and always will be morally wrong.
Films like 300 perpetuate a false history of white nations having the strongest and wisest citizens and the greatest soldiers. With jibes like “Spartan women give birth to real men” being spoken in an English accent, we can assume the writers mean that “white men are real men”. Zack Snyder co-wrote the screenplay with Kurt Johnstad and Michael Gordon, making all three of these punk motherfuckers as racist and prejudice as the original writer of the graphic novel; Frank Miller. A screenwriter and director with Laconophilic tendencies, inspired by a trashy, prejudiced, and historically-inaccurate graphic novel penned by a xenephobic wannabe artist, does not make for an enjoyable movie.
In real life the “million” strong Persian army was estimated at under 150,000 and the “300” Spartans were helped by Thesbians, Thebans, and other Greek forces which numbered in the several thousand. Because the eventual victors were of the Greek persuasion, the historical re-telling (like every other event in history) has the losers rewritten as savage, evil, and ineffective, whereas the winners are depicted as educated, wise, and somehow righteous.
It cannot be ignored that the most hate-filled people throughout history including Hans F. K. Günther, Alfred Rosenberg, and various other Nazis including Adolf Hitler himself, praised and respected the Spartans. Therefore there must be something inherently racist and pro-Caucasian about the whole legend. With lines like “All men are not created equal, that’s the Spartan code” spoken in the movie, the idea of a white “master” race is to this day embedded in the soul of this tale… and also in this lame film. And like everything lame in Hollywood, a sequel is looming.
Zero Out Of 300.