Pliny the Younger wrote two letters to the historian Tacitus describing the eruption of Vesuvius in 79 AD, and they are the only eyewitness account of one of the most significant natural disasters in recorded history. Pliny was seventeen years old when the eruption occurred. He watched from Misenum, across the Bay of Naples, as the cloud rose from the mountain. His uncle, Pliny the Elder — the naturalist and admiral who commanded the fleet at Misenum — sailed toward the eruption and died in it. The younger Pliny stayed behind, survived, and thirty years later wrote the letters that documented what he had seen with a clarity and precision that would have done credit to a trained scientist.

Paul W.S. Anderson’s Pompeii is not a film about the eruption of Vesuvius. It is a film about a slave-turned-gladiator and a merchant’s daughter whose love is thwarted by a corrupt Roman senator, and the eruption of Vesuvius happens to provide the third act. The volcano is plot device rather than subject. This is a reasonable choice for a commercial action film built on a historical catastrophe; it is not the choice that a serious engagement with Pompeii’s destruction would have made.

On the morning of August 24, 79 AD — though some scholars now argue for a date in October based on pomegranate seeds and autumn clothing found in the excavations — Mount Vesuvius began its eruption. By the following morning, the city of Pompeii was buried under four to six meters of volcanic ash and pumice. Approximately eleven thousand people lived there. Somewhere between two and three thousand did not escape. The volcano that killed them preserved them, and what it preserved has told us more about ordinary Roman life than any literary source.