chapter 8 A New Briseis in Troy
Barbara P. Weinlich
Aside from Menelaus’ death at the hands of Hector, the refashioning of Briseis as a devotee of Apollo, defiant captive of Achilles, and murderess of Agamemnon may be the most significant variation that either version of Troy makes to the ancient myths of the Trojan War. Yet, compared to the theatrical release version, the director’s cut highlights a different aspect of Briseis. As he displays her emotions more comprehensively and even intensifies them, Petersen now grants Briseis greater capacity to act decisively than the theatri- cal release version had done. Now, emphasis is less on her rather passive role as Achilles’ woman and more on her actions and reactions and on the values by which these are guided. As a result, the director’s cut significantly modifies the profile of Briseis in both the ancient myth and the theatrical release version. It also places the heroine in a noticeably different narrative and, by extension, in a different contemporary context. In this chapter I hope to show how the direc- tor’s cut reframes Briseis and her actions, how these changes re-shape the ancient myth’s war narrative, and how these modifications endow the film with a political dimension, even ideology, that was—and still is—particularly appealing to American audiences of the early twenty-first century. In view of the defenseless temple virgin’s evolution to a woman who is ready to preserve her autonomy at all cost, the director’s cut adds a new dimension to her narra- tive, that of good—i.e. morally justifiable—violence by the weaker as opposed to bad violence of the stronger. Through Briseis and her story the director’s cut evokes the dream as well as the paradox of what we might call the empowered powerless. In doing so, it also touches on contemporary politics. The work of Alena Allen and Robert Rabel on the theatrical release version of Troy may serve as a backdrop for the approach that this chapter will choose.1 Allen focused primarily on Briseis’ profile in the literary tradition and identified four aspects in the Briseis of Troy that stem from different ancient narratives. Like
1 Alena Allen, “Briseis in Homer, Ovid, and Troy,” and Robert J. Rabel, “The Realist Politics of Troy,” both in Martin M. Winkler (ed.), Troy: From Homer’s Iliad to Hollywood Epic (Oxford: Blackwell, 2007), 148–162 and 186–201. Earlier versions of this chapter were presented at Monash University and the Freie Universität Berlin. I am grateful for both audiences’ helpful suggestions, and I would like to thank Jane Montgomery Griffith and Almut-Barbara Renger in particular.
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2 Allen, “Briseis in Homer, Ovid, and Troy,” 161. 3 Rabel, “The Realist Politics of Troy,” 186. 4 Richard Ned Lebow, The Tragic Versions of Politics: Ethics, Interests and Orders (Cambridge: Cambridge University Press, 2003), 14; previously adduced by Rabel, “The Realist Politics of Troy,” 186. 5 Rabel, “The Realist Politics of Troy,” 187. 6 Rabel, “The Realist Politics of Troy,” 201.