Alexander the Great

The easiest villain to write is the external villain. The Alien. The shark in Jaws. The Terminator. Doc Ock, Bane, Immortan Joe. Or force-of-nature villains—the volcano in Volcano, the oncoming Ice Age in The Day After Tomorrow, the Mayan-prophecy-end-of-the-world in 2012.

The villain in “ALIEN: Covenant.” Can we do better?

External villains present existential threats to our physical existence. These sonsofbitches will kill you, eat you, freeze you, boil you.

The problem with external villains, though they may occasionally deliver bestseller sales and boffo box office, is they don’t often bring out the best in the stars who must confront them.

Why? Because the stars only have to duel these villains on one level (and the most superficial level, at that): the physical.

Much higher on the Villain Food Chain are

Societal villains.
Interior villains.

The villain in Huckleberry Finn, To Kill A Mockingbird, In the Heat of the Night and many, many others down to The Hurricane, Precious, and The Help, is racism.

Racism is a societal villain.

An individual character or characters may personify this antagonist in our narrative, as the jury or the mob or Bob Ewell did in Mockingbird. But the real villain is all-pervasive. It’s that cruel, ignorant, evil belief—”I have a right to dominate you because my skin is a different color than yours”—that exists only in men’s minds and hearts.

Societal villains are great villains, and they have produced great stars/heroes to confront them.

Do you remember The Way We Were? The Way We Were was a vehicle for two superstars in their prime, Robert Redford and Barbra Streisand, and it provided both of them with roles worthy of their peak power.

Who was the villain?

The villain, again, was societal. It was the ethno-racist belief that “Park Avenue” was different from “Brooklyn” and that people whose characters were formed in such environments—WASPy, athletic, born-golden Hubbell Gardiner and Jewish, striving, up-from-the-streets Katie Morosky—could never truly come together.

Barbra Streisand and Robert Redford in “The Way We Were”

The chasm between them because of their ethnicities and the different worlds they grew up in was so vast that it could not be bridged even by a great love.

The villain wins in the end of The Way We Were.

But the battle against this antagonist—the passionate, complex, tragic struggle by Katie and Hubbell to maintain their love—is an epic, world-class throwdown, with layer upon layer of emotional and psychological depth. The clash with this villain was worthy of two superstars.

The stars made the roles, but the villain made the stars.

The third type of villain, and the most satisfying dramatically, is the interior villain.

The interior villain is inside the star herself.

Karen Blixen’s need to “possess” the things she loves.

Hamlet’s inability to make up his mind and act.

Gatsby’s dream of recapturing a past that never really existed.

External villains exist as metaphors. The Alien represents … what? Pure evil? Death? Pitiless fate?

But interior villains show us the demons you and I really deal with in our real lives—the crazy shit inside our skulls.

Silver Linings Playbook made stars out of Bradley Cooper and Jennifer Lawrence.

One reason: a great villain.

“So think about that dance thing.” Bradley Cooper and Jennifer Lawrence in “Silver Linings Playbook.”

The villain in Silver Linings Playbook is interior. It exists inside Bradley Cooper’s head. The villain is his obsession, fueled by his bipolar disorder, with winning back his wife Nikki, whom he has alienated by his extravagant behavior in the past.

This villain is in every scene of the movie, from first to last.

PAT (BRADLEY COOPER)

[Nikki and I] have a very unconventional chemistry. It

makes people feel awkward, but not me. Alright? She’s the

most beautiful woman I’ve ever been with. It’s electric between

us! Okay, yeah, we wanna change each other, but that’s normal,

couples wanna do that. I want her to stop dressing like she

dresses, I want her to stop acting so superior to me, okay?

And she wanted me to lose weight and stop my mood swings,

which both I’ve done. I mean, people fight. Couples fight. We

would fight, we wouldn’t talk for a couple of weeks. That’s

normal. She always wanted the best for me.

TIFFANY (JENNIFER LAWRENCE)

Wow.

PAT

She wanted me to be passionate and compassionate.

And that’s a good thing. You know? I just, look, I’m my

best self today and I think she’s her best self today, and

our love’s gonna be fucking amazing.

TIFFANY

It’s gonna be amazing, and you’re gonna be amazing,

and she’s gonna be amazing, and you’re not gonna be that

guy that’s gonna take advantage of a situation without

offering to do something back. So think about that

dance thing.

See the villain in there? It’s in every word and it’s more terrifying than the Alien and the Predator and the Monsters of the Id from Forbidden Planet. This demon will devour not just Bradley’s soul but Jennifer’s too if it can, and it’s in every cell in Bradley’s body, as invisible to him as water is to a fish swimming in it.

What a hero Bradley will be if he can somehow, either alone or aided by Jennifer, see the real love that’s staring him in the face and recognize this Nikki-self-delusion for the monster it is—and change himself.

Spoiler alert: he does.

That’s a hero.

That’s a star.

(And count Jennifer too, because she’s fighting the same villain.)

What made that star was the scale and depth of the villain he (and she) had to fight.

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ADDITIONAL READING » ALEXANDER THE GREAT

Anabasis of Alexander

by Arrian

Same book as The Campaigns of Alexander, different title, from the Loeb Classical Library (in two volumes), translated by another top scholar, P.A. Brunt. Not as contemporary a read as de Selincourt’s but very much the real deal.

Campaigns of Alexander, The

by Arrian

This is the Penguin paperback, translated by Aubrey de Selincourt, with an intro by J.R. Hamilton, one of the best Alexander scholars. It’s the most readable and really gives you a sense of what all the fuss is about.

Alexander the Great and the Logistics of the Macedonian Army

by Engels, Donald

Military men say that amateurs talk tactics, professionals talk logistics. If so, this book is pure pro. Engels explores such questions as, “How many mules can carry how many pounds for how many miles at what speed before they completely crap out?” I love this stuff.

Generalship of Alexander the Great, The

by Fuller, J.F.C.

Shrewd insights into how Alexander fought and how his principles fit into the broader picture of warfare over the centuries. By one of the greatest military historians of our time or any other.

Alexander the Great

by Hammond, N.G.L.

I just like Hammond’s re-imagining of Alexander. His speculations ring true to me.

Genius of Alexander the Great, The

by Hammond, N.G.L.

I just like Hammond’s re-imagining of Alexander. His speculations ring true to me.

Life of Alexander the Great, The

by Plutarch

Under thirty pages, but crammed with anecdotes and insights, from a far greater writer than Arrian or Curtius. But skewed, too, in its own way. Great stuff.

History of Alexander

by Quintus Curtius (Loeb Library, translated by J.C. Rolfe)

Along with the Alexander sections of Diodorus Siculus’ Library of History, this is the other main ancient source. Interesting how the same incidents are narrated from wholly different points of view, new material added, crucial stuff left out. You can see why it’s so hard to get a handle on the real Alexander.

Persian Boy, The

by Renault, Mary

Without The Persian Boy and Fire From Heaven, I wouldn’t be writing at all. These novels of Alexander inspired me years ago when I first read them—and they still read great today. Mary Renault also wrote an interesting non-fiction book, The Nature of Alexander.