Masada [VHS]
by Boris Sagal
![Masada [VHS]](/images/Masada-VHS-630018238X-L.jpg)
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VHS Tape Cover Information
Actor: Anthony Quayle, Barbara Carrera, David Warner, Peter O'Toole, Peter StraussDirector: Boris Sagal
Cinematographer: Paul Lohmann
Producer: Arnon Milchan
Producer: George Eckstein
Producer: Jennings Lang
Producer: Richard Irving
Writer: Ernest K. Gann
Writer: Joel Oliansky
Edition: VHS Tape
Audio: English (Unknown)
Format: Color, HiFi Sound, NTSC
Running Time: 394 minutes
Release Date: 1995-02-28
Audience Rating: NR (Not Rated)
Publisher: Universal Studios
Studio: Universal Studios
VHS Movie Reviews of Masada [VHS]
Movie Review: Excellent character study and acting by Peter O'Toole
Summary: 4 Stars
Like many other reviewers, I'm a huge fan of "Masada" who first watched it on tv many years ago. So my rating of 4 stars refers to this particular product (the DVD of the complete series) since it's disappointing in not having any extras.
I'm a Roman history buff and enjoy epics, but I've come to realize that the main reason why I find "Masada" interesting to watch and re-watch is the characterization of Lucius Flavius Silva and the way Peter O'Toole plays him. Never mind (for now) whether or not it's historically accurate or plausible - the script, and O'Toole's acting, make Silva a perfectly consistent, believable, and 3-dimensional character. I've seldom seen such a good combination of character concept, the way the scrip treats him, and the actor.
Silva is essentially a man who values rational thought. His main reason for wanting a peaceful settlement with Peter Strauss's Eleazar - both at the beginning, and later just before the storming of Masada - is not so much that he's a humane or merciful man; it's rather that he sees the *pointlessness* of a long conflict that will end in Rome's victory in one way or the other, sooner or later, anyway - so it might as well end sooner and without all that waste of time, resources, and lives. And as a man who is driven primarily by reason, Silva seeks the cooperation, and the friendship, and trust of others with whom he can deal rationally and openly. That leads to Silva's chief weakness - as noted by Falco, Gallus, and Sheva: he is inclined to make mistakes as to his relationships with others. He trusts his original lieutenants - Quadratus and Merovius - who betray him; he does not realize the danger presented by his "friend" Falco even when his one true friend, Gsllus, warns him; he mistakes his sort of "convenient" relationship with Sheva for true love; and he believes to the end that his perceived personal bond of trust with Eleazar can still save the day. And, accordingly, Silva becomes most ruthless - or most confused - when he realizes that he had been mistaken about the nature of the bonds with those individuals. In the case of his relationship with Eleazar: he is grateful that Eleazar still trusts him despite Silva's betrayal when they first met, which makes Silva all the more concerned about avoiding a massacre in the end - and about proving to Eleazar that he can, indeed, trust Silva. Which is the point of his monologue at the very end - he laments that Eleazar did not recognize that he was a true friend.
I found the above fascinating because it's never explicitly stated (apart from brief remarks by Sheva and Falco); it's just something that is part of Silva's character and makes him seem a real person, in a manner totally consistent with (and important for) the story.
As far as "Masada"'s Silva resemblance to the historical person: the authors got it right in establishing a close personal relationship with the Emperor Vespasian and his elder son and later successor, Titus; Silva succeeded both in commanding the suppression of the revolt in Judaea, from where Vespasian made his claim to the throne just four years before the events in "Masada". Later, in the last year of Titus as emperor, the historical Silva was rewarded with the highest Roman magistracy, the consulship. He may even have been distantly related to Vespasian and Titus. And yet, it is the scene in Rome with Vespasian that shows the ultimate implausibility of "Masada"'s version of history: when asking Vespasian for the concessions he had agreed with Eleazar in exchange for peace, Vespasian replies, "it's too late, you can't make concessions after you've declared victory". Well, duh. Precisely. And the thing is, the historical Silva - and even "Masada"'s Silva - would have known that, without having to go to Rome and hear that from Vespasian.
(Incidentally, one of the small attentions to historical detail, despite the inaccuracies, is that Vespasian's younger son Domitian is shown in Rome alongside Titus, albeit as a non-speaking part.)
I suspect that for the historical Silva, matters were far less complex than for O'Toole's Silva. Not only there could be no question of making concessions to the rebels at that point - least of all to Eleazar's Sicarii, which were the ruthless terrorists other reviewers have described - for him the Masada campaign would have been just the last tidying-up operation in the long Jewish War. I find it easier to imagine that the historical Silva, upon hearing a suggestion that he should meet Eleazar and talk, would have answered, "about what?"
Of course, a matter-of-fact description of a business-as-usual campaign by an experienced Roman legate against the last remains of the most radical of Jewish rebels would be less interesting, and far shorter, than the "Israeli Masada myth" that the producers wanted. Hence the invention of a relationship between Silva and Eleazar, and of a situation where Silva might consider plausible that Rome might still want to make concessions for the sake of peace. It's essentially stretching and twisting the known historical facts for the sake of the story; but in doing so they created a wonderful character in Silva, which is what makes "Masada" so memorable, in my opinion.
In this context, as others noted, I wonder if "Masada" succeeded in the apparent intention of promoting the Israeli Masada myth. The Romans as a whole are indeed shown as reasonable and essentially as professionals, even well-intentioned, as illustrated by the dialogue between Silva and Vespasian. The acts that lead Eleazar to break his truce with Silva are clearly shown as the actions of corrupt and untrustworthy individuals, rather than as Rome's official policy. The beginnings of the Jewish revolt are described to Silva, by the father of a captured Zealot, as something rather banal that just snowballed out of control. Actually - maybe I'm seeing too much into this - the producers seemed keen on showing that, although ruthless and conquerors and occupiers, the Romans were not the Nazis. Hence the detailed scene of Gallus explaining how to get the best out of the Jewish slaves - which included being relatively humane. That is to say, the Romans were interested in the labor of the Jewish slaves and in the surrender of the Jewish rebels - but not in extermination of Jewish lives as a goal in itself.
- Spoiler alert -
(Of course, for all of the promises of O'Toole's Silva that the rebels of Masada would be spared, it is far more likely that the historical Silva would have sold at least all the women and children into slavery, and perhaps crucified the men, if they had not committed suicide).
As for the characters besides Silva, I found most of them convincing and at least two-dimensional if not three-dimensional, especially Anthony Quayle's Gallus and and even Barbara Carrera's Sheva. As a fan of David Warner, I have to quibble that his portrayal of Falco was slightly unconvincing, for this reason: he plays Falco as if Falco were a professional actor himself - that is, totally changing personality the moment he decides to take over Silva's command. I found that unconvincing. I have met a few men like Falco: they are ruthless weasels, but they remain weasels even as they stab you in the back (or in the front). I would have found more convincing if Falco had acted in a more subtle fashion, even as he took over command (which might be even ironic, in exploring Silva's weaknesses as I mentioned above, with Silva thinking, "maybe Falco did think he was acting for the best?"
Anyway: I think "Masada" is a very good character study of Peter O'Toole's Flavius Silva, who fits the role perfectly, besides telling a story of epic proportions with mostly excellent actors. Yes, it has flaws historically - but as long as you don't think it's 100% accurate, that shouldn't be a problem.
Summary of Masada [VHS]
This 1981 television miniseries, based on Ernest K. Gann's historical novel The Antagonists, is a dramatization of a documented revolt by nearly a thousand Jerusalem Jews against Roman oppressors in A.D. 72 to 73. Following a city-wide siege by Rome's soldiers, Jewish Zealots move into a fortress in the mountains of Masada, from which they present a defense strong enough to convince the enemy to negotiate. Peter O'Toole, in all his golden dignity, plays Cornelius Flavius Silva, commander of the Roman legions, and Peter Strauss is Zealot leader Eleazar ben Yair. Both are outstanding as representatives from each side trying, in good faith, to find a way out of the deadlocked situation. Unfortunately, neither realizes that Rome has no intention of yielding, resulting in one of the greatest tragedies in Jewish history. A strong cast of character actors--David Warner, Barbara Carrera, Timothy West, and Anthony Quayle--is rewardingly watchable, the action and sets are persuasive without overwhelming the story's human dimension, and direction by Boris Sagal (The Omega Man) is crisp and enthralling. This was a pleasure to watch when it was first broadcast, and it holds up very well today. --Tom Keogh"A victory? What have we won?" laments a breathtaking Peter O'Toole as the Roman warrior Flavius Silva. "We've won a rock in the middle of a wasteland, on the shores of a poisoned sea." Thus does Masada, the epic 1981 miniseries about a horrific battle in ancient Palestine, echo the terrible toll of war in general, and of the brutal conflicts in today's Middle East in particular. Masada, from the golden age of miniseries (Roots, Shogun), is a transportive viewing event--shot on location, and apparently no expense spared.
The film retells (with some dramatic license) the true story of an uprising in Palestine of a ragtag band of Jews, in a fortress called Masada, who refuse to surrender to the governing Romans. O'Toole, as Flavius Silva, is the brilliant commander who, over the course of several years of trying, and failing, to breach Masada, comes to regard the leader of his foes, Eleazar ben Yair (the charismatic Peter Strauss), with a certain amount of respect and awe. If left to Flavius, he might have simply leave the holdout fortress and return to the Italy he so longs for; but the Roman emperor demands victory--at any cost.
The performances are uniformly crisp and believable; the direction by Boris Sagal, economical; the screenplay, sharp and incisive. David Warner, who won an Emmy for his performance, plays the brutal Roman henchman Falco with seething determination. The location shooting is nothing short of spectacular. There is sorrow in the story of Masada, but an uplifting message in the ability of true believers to create their own destiny. --A.T. Hurley
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