Significant Works

In this new, ambitious examination of epic films, Constantine Santas artfully argues for the viability and surprising longevity of this narrative form. Surprisingly popular throughout the 100-year history of motion pictures, this genre has never been treated with much respect. Most critics and viewers dismiss the classical epics of the 1950's and 1960's as big-budget, big-cast, big box office crowd pleasers. But Professor Santas' academic approach reveals them to be not only artistic, but significant works. And he wins the argument.

He lays the groundwork in the first two chapters by comparing the modern epic to Aristotle's Poetics and rightly "translates" the elements into the new medium of moving pictures. Film form and visual language lend themselves elegantly to the requirements of "epic spectacle" as "special effects." Further, the story is carried by the hero, as a representative—"savior"—of the people. Of course, the sheer power of the image to project the hero in exactly this pose is second to none. The storyline itself is the "greatest conduit of fantasy ever created" (55) and the powers inherent in the big screen image a natural match. Santas explores its popularity throughout the history of cinema, not just the classical period of the 50's and 60's.

Films epics must be lengthy, exciting, and complex; also, they must utilize large cast, consider weighty issues, and employ the latest technologies. Therefore, they are costly and must be box offices successes; for these reasons, critics and academics had dismissed this popular and evolving form. But Santas whole-heartedly studies the epic in all its components, values, history and modernizations to educate film-buffs and academics, alike. He certainly convinced me to reconsider.

The remaining seven chapters examine different types: Religious, Historical, Women-Centered, Comic, Anti-Epic, Information Age and International. Each chapter analyzes the components of that content area and supplies descriptions of individual titles. There are hundreds of finely detailed synopses, analyses, enough in each category to appeal to each reader's experience. I particularly enjoyed reacquainting myself with old favorites.

Santas' method in compiling this highly readable volume is "to show that the epic has maintained its mythic qualities, connecting its heroes and their actions with the collective psyche of the community and its common goals" (18). As he applies these parameters—the hero and his community—he builds respect for this pattern, its uses, merits and meanings. While it is popular as well as entertaining—requiring length, action, and spectacle—film narrative will not die out.

As Santas argues with penetrating details, film itself is ideally suited to the epic story and scope. Endure it will as long as big screens prevail. Therefore, Constantine Santas has the perfect title for his book. The Epic in Film is not just about film epics.