Strength and honour.

Ridley Scott’s Gladiator (released in 2000) is not a perfect film, I would think that the hardiest of fans, of which I’m firmly one, know this deep down. Yet just like Commodus in the film is keen to point out that he himself has other virtues that are worthy, so does Gladiator the film. Enough in fact to make it an everlasting favourite of genre fans and worthy of the Academy Award acknowledgements it received (including Best Picture).

In narrative terms the plot and story arc is simplicity supreme, something Ridley Scott and Russell Crowe have never shied away from as the makers of Gladiator were not standing up bold as brass to proclaim they were unique with their movie, what they did do was reinvigorate a stagnant genre of film for a new generational audience. And it bloody worked. The influence and interest in all things Roman or historically swashbuckling of film that followed post the success of the movie is there for all to see.

Crowe portrays Roman general Maximus Decimus Meridius, who is betrayed when Commodus, the ambitious son of Emperor Marcus Aurelius, murders his father and seizes the throne. Reduced to slavery, Maximus becomes a gladiator and rises through the ranks of the arena to avenge the murders of his family and his emperor.

Gladiator can make the emotionally committed feel with Crowe’s Maximus being the man men want to be and the man women want to be with. As he runs through the gamut of life’s pains and emotionally fortified trials and tribulations, we are with him every step of the way, urging him towards his day of revenge splattered destiny; with Crowe superb in every pained frame, deservedly winning the Academy Award for Best Actor.

Backing Crowe up is Joaquin Phoenix giving Commodus a preening villainy and Connie Nielsen graceful as his sister Lucilla. Oliver Reed, who departing this mortal coil during filming but leaving behind a spicy performance as Proximo the gladiator task master. Richard Harris tugging the heart strings as Emperor Marcus Aurelius, Derek Jacobi classy as Senator Gracchus, while Djimon Hounsou gives Juba, Maximus right hand man and confidante, a level of character gravitas that’s inspiring.

I must also comment on the incredible soundtrack in which the sublime music of Hans Zimmer coupled with the enchanting voice of Lisa Gerrard elevates the score to the same glorious standard as the film.

Gladiator, unlike many other epics, shows a very realistic image of the Roman Empire and makes a perfect use of this on screen. In this case, the movie which discusses a very distant period in time (2nd century A.D.) occurs to be clearly interpreted and understood by the 21 century-audience. Director Ridley Scott knew exactly his viewers’ expectations. Such a movie is more a spectacle and entertainment than pure history. Therefore, even if there are historic figures in the film, we cannot treat it as history and look for historical accuracy or inaccuracy. It is much more since it generally shows Rome, its power, its emperors, its majesty, its people, its games, and finally . . . its gladiators.

The dialogue is literate and poetic, resplendent with iconic speeches. Action is never far away, but never at the expense of wrought human characterisations. The flaming arrows and blood letting of the Germania conflict kicks things off with pulse raising clarity, and Ridley Scott and his team never sag from this standard. The gladiator arena fights are edge of the seat inducing, the recreation for the Battle of Carthage a stunning piece of action sequence construction. And then the finale, the culmination of two men’s destinies, no soft soaping from Scott and Crowe, it lands in the heart with a resounding thunderclap. A great swords and sandals movie that tipped its helmet to past masters whilst simultaneously bringing the genre alive again.

Enjoy.

This will be my last post for 2023 but I’ll be returning with more film and movie posts to engage Cats for 2024.