Gladiator
Ridley Scott, cinema's
premiere visual stylist, has delivered remarkable imagery in
all his films, and his latest effort, Gladiator, proves no exception.
Scott, who reinvented science fiction cinema with Blade Runner,
now breaths new life into the Roman epica genre which has been
dormant for 36 years (the last film of this kind was The Fall
of the Roman Empire in 1964of which Gladiator, ironically, is
a remake).
Near death, the emperor Marcus Aurelius (Richard Harris) disinherits
his son, Commodus (Joaquin Phoenix), whom he has judged unfit
to govern the empire. When Commodus murders his father, the emperor's
most loyal general, Maximus (Russell Crowe) suspects foul play.
But before Maximus can act, he is seized and ordered to be executed
by Commodus. Barely escaping, Maximus undergoes a tragic personal
odyssey which ultimately returns him to Rome as a gladiator slaveand
in a position to avenge himself.
Taking advantage of CGI technology, the film depicts golden Rome
as never beforea majestic, shining metropolis, rendered convincingly
in three dimensions. The storyline and characters are equally
captivating. In the lead, Russell Crowe offers up a brooding,
compelling performance as the tragic hero Maximus. The other
performances are convincingly introspective, from the infantile
Commodus and the patrician poise of his sister, Lucilla (Connie
Nielsen), to the gladiators themselves, particularly Djimon Hounsou
as Juba. And Oliver Reed caps off his career with an impressive
performance as gladiator-trainer Proximo (Reed died of a heart
attack shortly before filming wrapped).
While ostensibly set in the second century, Gladiator draws on
a number of periods in Roman history. Commodus' character, for
instance, is (at least partly) inspired by an earlier Roman despot,
Gaius Caligula (particularly his incestuous tendencies and attempts
to fan public approval by financing lavish games).
Scott also pulls no punches in showing the visceral brutality
of the times. The scenes of the Roman circus are rife with carnage
and spectacular swordplay, and are at once both horrifying and
exhilarating. And if not entirely true to historic fact (the
protagonist, Maximus, is an invented character), Gladiator rings
true in its depiction of Rome. It is a powerful, energetic film,
literate and suffused with Ridley Scott's trademark style, which
invests every moment with a heightened sense of reality.
Paul Andrew MacLean
Shelton CT 06484 USA
(800) 232-2224 voice
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LadyJanet@RenaissanceMagazine.com