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The 300 Spartans

The 300 Spartans

Adventure · History · War · 1962

The 300 Spartans is an account of the 480 B.C. Battle of Thermopylae, in which the Greek Spartan King Leonidas, played by Richard Egan, led a remarkably small number of Greek Sparta to victory over an invading Persian army led by evil King Xerxes that was thought to number over 25,000. This spectacular conflict gave the Grecians enough time to organize a force to ultimately repel the Persians, and thus change the course of Western civilization.

Movie details

The 300 Spartans

1962 Adventure · History · War 1h 54m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

The 300 Spartans is an account of the 480 B.C. Battle of Thermopylae, in which the Greek Spartan King Leonidas, played by Richard Egan, led a remarkably small number of Greek Sparta to victory over an invading Persian army led by evil King Xerxes that was thought to number over 25,000. This spectacular conflict gave the Grecians enough time to organize a force to ultimately repel the Persians, and thus change the course of Western civilization.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The 300 Spartans?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rudolph Maté

Written by

Gian Paolo Callegari · Remigio Del Grosso

Richard Egan

Richard Egan

King Leonidas

Ralph Richardson

Ralph Richardson

Themistocles of Athens

Diane Baker

Diane Baker

Ellas

Barry Coe

Barry Coe

Phylon

David Farrar

David Farrar

Xerxes

Anne Wakefield

Anne Wakefield

Artemisa

Donald Houston

Donald Houston

Hydarnes

Court is in session

Put The 300 Spartans on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.