Fables should be taught as fables, myths as myths, and miracles as poetic fancies. To teach superstitions as truths is a most terrible thing. The child mind accepts and believes them, and only through great pain and perhaps tragedy can he be in after years relieved of them. In fact, men will fight for a superstition quite as quickly as for a living truth — often more so, since a superstition is so intangible you cannot get at it to refute it, but truth is a point of view, and so is changeable.
—Hypatia of Alexandria
I happened to be flipping through the cable TV movie channels the other night, and managed to catch the 2009 movie Agora, about the 4th century female astronomer and mathematician Hypatia of Alexandria. A Spanish production (in English) directed by Alejandro Amenabar, it received great reviews, seven Goya Awards in Spain, the Alfred P. Sloan Foundation Feature Film Prize at the Hamptons International Film Festival, and accolades at Cannes as well. It broke box office records in Spain. But it only played on four screens in the U.S. in very limited release in New York and LA, so almost no one in this country got to see it. Now, three years later, it appears on cable TV, and can be purchased on Amazon.com or rented on Netflix and other outlets. This seems to be a typical pattern of most thoughtful or provocative European movies that are not written for American teenage boys with lots of guns, violence, superheroes, and car crashes. If you don’t live in a major media center with lots of small independent theaters that cater to a worldly intelligent crowd that likes stimulating, challenging movies, you just have to wait for it to show up on cable or Netflix.
Although it has its flaws, it is a gem of a movie with amazing, provocative scenes and the overarching theme of religious intolerance suppressing science and free inquiry. It was filmed in Malta with minimal CG imagery, so it truly captures the milieu of the blazing Egyptian sun baking the ancient stone city of Alexandria. It portrays both the glories of the temples and monuments to a mixture of Egyptian, Greek, and Roman gods, and the degradation of the slums and the poor amidst great wealth. The acting by an international cast, including the luminous Rachel Weisz (as Hypatia), is excellent, and it does a far better job than most period pieces (especially the “sword and sandal” genre of films about ancient Rome) of capturing the essence of late Roman Alexandria. In that regard it evokes more recent efforts like Ridley Scott’s and Russell Crowe’s “Gladiator” and the HBO series “Rome”. Peter Bradshaw of The Guardian wrote that it is “an ambitious, cerebral and complex movie…Unlike most toga movies, it doesn’t rely on CGI spectacle, but real drama and ideas.” As many other reviewers noted, it is an historical epic (done on an epic scale) not about wars and conquests and romance, but about complex concepts and themes of science, religion, and intolerance.comments (51)