Gladiator
2000
2000
D: Ridley Scott
**********
**********
For years
I’ve counted Gladiator as my favorite movie of 2000, one of the few
since the 70’s to have deservedly won a Best Picture Oscar and a catalyst for a
brief trend of swords-and-sandals action movies. Nowadays I feel compelled to
re-evaluate that in the light of current politics and my own changing
viewpoints. We’ll see if this film passes the test.
While I
traditionally do these anniversary reviews on the initial release date, I sadly
did not feel like doing a review after last weekend’s rewatch until I was
already into the work week. A curse of having a mindless blue-collar job is
that my mind can wander all day, but I don’t have the opportunity or energy to
put ideas down on paper until the weekend. But before I begin the synopsis and
review in earnest, I am compelled by the laws of the Internet to acknowledge
the following osmotic behind-the-scenes anecdotes.
- The movie’s visuals were primarily inspired by some painting, though apparently not that much.
- Joaquin Phoenix decided to purposefully gain weight during shooting for method-acting reasons, and Ridley Scott had to tell him to stop because even Ridley Scott has his limits.
- Russell Crowe initially refused to say an awesome line because it was the type that midwits pretend isn’t metal to make themselves feel better, causing Ridley Scott to put his foot down. Crowe, in an attempt to reconcile not provoking Scott’s legendary diva rage with his own ego, rationalized that maybe he could make it work because he’s “the best actor ever” and phoned in the read.
- They briefly considered a scene in which Maximus had to endorse products as ancient Roman gladiators actually did, but it was decided to be too comical for the movie’s tone. This reviewer, however, believes that Maximus’ being made to do stupid things while he has serious matters to worry about could have been played dramatically. Besides, it would not have been too out of place movie had its share of comic relief akin David Hemmings’ telling Oliver Reed to “crawl back down that shithole you came from" before donning a goofy, golden wig.
The story
begins in 180AD Germany, where Roman General Maximus (Russell Crowe) finishes
off the final conquest of the Barbarians with the help of his commander Quintus
(Tomas Arana). After the battle Emperor Marcus Aurelius (Richard Harris) tells
Maximus that he intends to name him his successor with the intent to make Rome
a republic again and then tells his son Commodus (Joaquin Phoenix), which turns
out to be a mistake. Now Emperor, Commodus orders Maximus executed as he
prepares to rule Rome irresponsibly (read: he re-opens the gladiatorial matches
in the Colosseum to pander to the masses), much to the annoyance of populist
senators Gracchus (Oliver Reed) and Gaius (John Shrapnel). He maintains power
by intimidating his sister Lucilla (Connie Nielsen) with veiled threats toward
her son Lucius (Spencer Treat Clark).
Maximus is able to escape his murder with a clever trick: he requests a “soldier’s death,” thus prompting his executioner to subvert all expectations of what that is by stabbing him in the back. Maximus then phases through a blade pointed directly at him and reverse-headbutts his assailant from a kneeling position (this trick does not work for Commodus). I don’t want to imply that TLJ is a better movie by any means, but that disappearing knife was not a plot-critical moment. Maximus then high-tails it back to his farm, but not in time to save the lives ofRidley Scott's his wife
(Gianinna Facio) and
son (Giorgio Cantarini).
Our hero is found by slavers while sleeping in the open on his farm and is brought to Zuccabar, where he is bought by gladiator pimp Proximo (Oliver Reed) and befriends fellow slaves Juba (Djimon Honsou) and Hagen (Ralf Moller). He excels at the fights despite his cynicism toward the bloodsport. Proximo advises him to win the crowd in addition to fighting and reveals that he was once a gladiator himself.
Thanks to Commodus’ liberalization of bloodsport, Proximo is now able to take Maximus & Co. to Rome where Maximus’ success is so great he reveals himself to Commodus during a public audience. Frustrated, Commodus vies to tie up this loose end (including a failed attempt to off him by bringing a retired celebrity gladiator (Sven-Ole Thorsen) to kill him in the arena), but Maximus’ increased popularity with the mob is an obstacle to this.
Meanwhile Maximus makes contact with his former army confidant Cicero (Tommy Flanagan), who assures him that he can bring his still-loyal army to take Rome. Through secret meetings with Lucilla and Gracchus, Maximus arranges an escape so that he can rendezvous with his troops. Commodus finds out about the conspiracy by giving Lucilla an ultimatum concerning Lucius’ life. Maximus’ plan crumbles as he is caught during the escape. During this catastrophic fallout, Gracchus is imprisoned, Cicero and Proximo (who decides to redeem himself by helping) are murdered, and Gaius is pranked by having someone slip a clearly non-venomous snake into his bed.
Just as in another David Hemmings movie, the hero is thoroughly out-gambited but overcomes through brute force like the cornered animal he is. Commodus tries to defeat Maximus in the arena after mortally wounding him, but Maximus overpowers him and kills him. Before he succumbs to blood loss, he orders Quintus (who had betrayed Commodus at the last second) to free Gracchus and restore the Republic. He then meets his family in Elysium.
The cast is very good. Russell Crow gives an effective, understated performance as Maximus, but Joaquin Phoenix is the real star of the movie. Oliver Reed, having won the memorial movie lottery with this film, is also very charismatic as Proximo. He usually comes off as cynical, but his nostalgia when describing the glory of battle foreshadows his revelation that he is a former gladiator and suggests a sense of comradery than influences his redemption. Richard Harris is well-cast as the wise-but-exhausted Marcus Aurelius. Other cast members include David Schofield and Omid Djalili.
Lucilla is informed to be the Machiavellian type, which causes some disillusionment from former childhood friend Maximus), but she has little opportunity to display that angle for fear of Lucius’ life. Her apparent attempt to poison Commodus (which Commodus apparently fakes drinking, which she apparently falls for, which apparently doesn’t come to much) and her meetings with Maximus come off more like relatable desperation than cunning. Then again, she might at least attempt to send Lucius elsewhere.
There are many reasons to reevaluate movies, and one of them is consensus-era politics, which have proven to be wrong on many things. Gladiator would be a prime suspect, considering its arguably confused attitude toward liberalism, particularly the “idea of Rome” as a fallacious abstract, ignoring that Caesar came to power for a reason. The movie also presents Maximus and Commodus as opposing versions of the Greater Man. Despite the suggestions that the corruption in the government is the source of its problems, the solution is stated to be giving power to the Senate by giving power to one man who can be trusted to make the transition happen. I suppose one could interpret the source of the rot as a mass of unelected bureaucrats, which is reflective of reality. It also helps that the movie espouses that a single dictator popular with the mob is not a good solution. The movie is very much a product of its time: especially in the depiction of Rome’s spreading civilized values through war.
Then again, Marcus Aurelius does express misgivings over this.
Then again, nation-building worked better for them then it did for us.
Then again, this movie did come out before 9/11.
Maximus is able to escape his murder with a clever trick: he requests a “soldier’s death,” thus prompting his executioner to subvert all expectations of what that is by stabbing him in the back. Maximus then phases through a blade pointed directly at him and reverse-headbutts his assailant from a kneeling position (this trick does not work for Commodus). I don’t want to imply that TLJ is a better movie by any means, but that disappearing knife was not a plot-critical moment. Maximus then high-tails it back to his farm, but not in time to save the lives of
Our hero is found by slavers while sleeping in the open on his farm and is brought to Zuccabar, where he is bought by gladiator pimp Proximo (Oliver Reed) and befriends fellow slaves Juba (Djimon Honsou) and Hagen (Ralf Moller). He excels at the fights despite his cynicism toward the bloodsport. Proximo advises him to win the crowd in addition to fighting and reveals that he was once a gladiator himself.
Thanks to Commodus’ liberalization of bloodsport, Proximo is now able to take Maximus & Co. to Rome where Maximus’ success is so great he reveals himself to Commodus during a public audience. Frustrated, Commodus vies to tie up this loose end (including a failed attempt to off him by bringing a retired celebrity gladiator (Sven-Ole Thorsen) to kill him in the arena), but Maximus’ increased popularity with the mob is an obstacle to this.
Meanwhile Maximus makes contact with his former army confidant Cicero (Tommy Flanagan), who assures him that he can bring his still-loyal army to take Rome. Through secret meetings with Lucilla and Gracchus, Maximus arranges an escape so that he can rendezvous with his troops. Commodus finds out about the conspiracy by giving Lucilla an ultimatum concerning Lucius’ life. Maximus’ plan crumbles as he is caught during the escape. During this catastrophic fallout, Gracchus is imprisoned, Cicero and Proximo (who decides to redeem himself by helping) are murdered, and Gaius is pranked by having someone slip a clearly non-venomous snake into his bed.
Just as in another David Hemmings movie, the hero is thoroughly out-gambited but overcomes through brute force like the cornered animal he is. Commodus tries to defeat Maximus in the arena after mortally wounding him, but Maximus overpowers him and kills him. Before he succumbs to blood loss, he orders Quintus (who had betrayed Commodus at the last second) to free Gracchus and restore the Republic. He then meets his family in Elysium.
The cast is very good. Russell Crow gives an effective, understated performance as Maximus, but Joaquin Phoenix is the real star of the movie. Oliver Reed, having won the memorial movie lottery with this film, is also very charismatic as Proximo. He usually comes off as cynical, but his nostalgia when describing the glory of battle foreshadows his revelation that he is a former gladiator and suggests a sense of comradery than influences his redemption. Richard Harris is well-cast as the wise-but-exhausted Marcus Aurelius. Other cast members include David Schofield and Omid Djalili.
Lucilla is informed to be the Machiavellian type, which causes some disillusionment from former childhood friend Maximus), but she has little opportunity to display that angle for fear of Lucius’ life. Her apparent attempt to poison Commodus (which Commodus apparently fakes drinking, which she apparently falls for, which apparently doesn’t come to much) and her meetings with Maximus come off more like relatable desperation than cunning. Then again, she might at least attempt to send Lucius elsewhere.
There are many reasons to reevaluate movies, and one of them is consensus-era politics, which have proven to be wrong on many things. Gladiator would be a prime suspect, considering its arguably confused attitude toward liberalism, particularly the “idea of Rome” as a fallacious abstract, ignoring that Caesar came to power for a reason. The movie also presents Maximus and Commodus as opposing versions of the Greater Man. Despite the suggestions that the corruption in the government is the source of its problems, the solution is stated to be giving power to the Senate by giving power to one man who can be trusted to make the transition happen. I suppose one could interpret the source of the rot as a mass of unelected bureaucrats, which is reflective of reality. It also helps that the movie espouses that a single dictator popular with the mob is not a good solution. The movie is very much a product of its time: especially in the depiction of Rome’s spreading civilized values through war.
Then again, Marcus Aurelius does express misgivings over this.
Then again, nation-building worked better for them then it did for us.
Then again, this movie did come out before 9/11.
Then again, Ridley Scott's own regret over this did not exactly yield good fruits.
There are also parts where Commodus seems compelling. In his confrontation with his father, he admits that though he has little physical courage while arguing that there are other forms of it. Then again, most of his assertions are mere lip service, and the movie saves itself with a scene that proves that Gracchus is clearly more interested in addressing actual problems. One would just not have to think too much about what the pagan solution to a plague would be. One possibility is to blame a certain group of people that the real-life Commodus was known for being nicer to than his father was.
That being said, Gladiator does a good job letting the audience enjoy it on its own terms by simply not mentioning inconvenient history (contrast this with 300’s gleefully reminding us that the Spartans were baby-killers). This might be the reason why an unnecessary scene involving Christians’ being fed to lions was wisely removed so as not to call too much attention to the movie's historical liberties. Unfortunately, this did not stop one character from saying that Rome was founded as republic.
The movie is a bit confused on the matter of politics, which reflects consensus-era attitudes, but it unintentionally touches upon some truths and allows for interpretation. It’s at worst forgivable in its naivete. Fortunately my inner sorn's ambivalence is outweighed by my inner hross' enthusiasm.
One of the things that makes this movie great nonetheless is its sheer spectacle: Gladiator is Ridley Scott’s direction at its best. Knowing Scott’s micromanagement of visuals, it’s hard to give that much credit to cinematographer John Mathieson. The movie looks gritty during the dark battle scenes and is effectively atmospheric without being too monochromatic. Set and prop design are impressive. The action is effective despite some cheated stunt editing (particularly the aforementioned hit detection problems). One of the main reasons I was unimpressed by Troy (though I might have to revisit it) is how visually bland it was in comparison. I don't dislike Hans Zimmer’s current ambient style as everybody else seems to, but Gladiator’s score is a top-notch example of melodic soundtracks, and one of the movies more absurd Oscar snubs.
In retrospect, movie deserves its popularity with good character, acting, visuals, and memorable dialogue. Some of the lines are subtly witty, such as one line from Commodus that sounds very similar to its Latin translation, and when Maximus tells an enemy he has more XP than he does without saying he has more XP than he does. Another good moment is the suggestion that his to the mob as “Maximus the Merciful” is half-ironic. I assert that it did indeed deserve its BP, but then again maybe I need to rewatch Best in Show.
There are also parts where Commodus seems compelling. In his confrontation with his father, he admits that though he has little physical courage while arguing that there are other forms of it. Then again, most of his assertions are mere lip service, and the movie saves itself with a scene that proves that Gracchus is clearly more interested in addressing actual problems. One would just not have to think too much about what the pagan solution to a plague would be. One possibility is to blame a certain group of people that the real-life Commodus was known for being nicer to than his father was.
That being said, Gladiator does a good job letting the audience enjoy it on its own terms by simply not mentioning inconvenient history (contrast this with 300’s gleefully reminding us that the Spartans were baby-killers). This might be the reason why an unnecessary scene involving Christians’ being fed to lions was wisely removed so as not to call too much attention to the movie's historical liberties. Unfortunately, this did not stop one character from saying that Rome was founded as republic.
The movie is a bit confused on the matter of politics, which reflects consensus-era attitudes, but it unintentionally touches upon some truths and allows for interpretation. It’s at worst forgivable in its naivete. Fortunately my inner sorn's ambivalence is outweighed by my inner hross' enthusiasm.
One of the things that makes this movie great nonetheless is its sheer spectacle: Gladiator is Ridley Scott’s direction at its best. Knowing Scott’s micromanagement of visuals, it’s hard to give that much credit to cinematographer John Mathieson. The movie looks gritty during the dark battle scenes and is effectively atmospheric without being too monochromatic. Set and prop design are impressive. The action is effective despite some cheated stunt editing (particularly the aforementioned hit detection problems). One of the main reasons I was unimpressed by Troy (though I might have to revisit it) is how visually bland it was in comparison. I don't dislike Hans Zimmer’s current ambient style as everybody else seems to, but Gladiator’s score is a top-notch example of melodic soundtracks, and one of the movies more absurd Oscar snubs.
In retrospect, movie deserves its popularity with good character, acting, visuals, and memorable dialogue. Some of the lines are subtly witty, such as one line from Commodus that sounds very similar to its Latin translation, and when Maximus tells an enemy he has more XP than he does without saying he has more XP than he does. Another good moment is the suggestion that his to the mob as “Maximus the Merciful” is half-ironic. I assert that it did indeed deserve its BP, but then again maybe I need to rewatch Best in Show.
QUOTES
QUINTUS: People should know when they’re conquered.
MAXIMUS: Would you, Quintus? Would I?
MAXIMUS: Would you, Quintus? Would I?
[addressing his troops before battle]
MAXIMUS: Fratres! Three weeks from now, I will be harvesting my crops. Imagine where you will be, and it will be so. Hold the line! Stay with me! If you find yourself alone, riding in the green fields with the sun on your face, do not be troubled…for you are in Elysium, and you're already dead! [laughter] Brothers, what we do in life...echoes in eternity.
MAXIMUS: Fratres! Three weeks from now, I will be harvesting my crops. Imagine where you will be, and it will be so. Hold the line! Stay with me! If you find yourself alone, riding in the green fields with the sun on your face, do not be troubled…for you are in Elysium, and you're already dead! [laughter] Brothers, what we do in life...echoes in eternity.
MARCUS AURELIUS: Tell me about your home.
MAXIMUS: My house is in the hills above Trujillo. A...a very simple place. Pink stones that warm in the sun. A kitchen garden that smells of herbs in the day. Jasmine in the evening. Through the gate is a giant poplar. Figs. Apples. Pears. The soil, Marcus. Black. Black like…like my wife's hair. Grapes on the south slopes, olives on the north. Wild ponies play near my house. They tease my son. He...he wants to be one of them.
MAXIMUS: My house is in the hills above Trujillo. A...a very simple place. Pink stones that warm in the sun. A kitchen garden that smells of herbs in the day. Jasmine in the evening. Through the gate is a giant poplar. Figs. Apples. Pears. The soil, Marcus. Black. Black like…like my wife's hair. Grapes on the south slopes, olives on the north. Wild ponies play near my house. They tease my son. He...he wants to be one of them.
[One of the Praetorian Guards struggles pulling his sword
from its scabbard]
MAXIMUS: The frost. Sometimes it makes the blade stick.
[Kills him]
COMMODUS: I think I understand my own people.
GRACCHUS: Then perhaps Caesar will be so good as to teach us, out of his own extensive experience? [laughter]
COMMODUS: I call it love, Gracchus. The people are my children. I am their father. I shall hold them to my bosom and embrace them tightly...
GRACCHUS: Have you ever embraced someone dying of plague, sire?
COMMODUS: No, but if you interrupt me again, I assure you that you will.
DEALER: Proximo, my good friend! Every day is a great day
when you are here. Today is your most fortunate day.
[Proximo grabs him by the crotch]
PROXIMO: Those giraffes you sold me, they won't mate. They just walk around, eating, and not mating. You sold me...queer giraffes. I want my money back.
PROXIMO: I am Proximo! I shall be closer to you for the
next few days, which will be the last of your miserable lives, than that bitch
of a mother who first brought you screaming into this world! I did not pay good
money for your company. I paid it so that I might profit from your death. And
just as your mother was there at your beginning, I shall be there at your end.
And when you die - and die you shall - your transition will be to the sound
of... [claps his hands]
[Maximus has won a gladiatorial match and throws a gladius
into the press box in protest]
MAXIMUS: Are you not entertained? Is this not why you’re here?
MAXIMUS: You sent for me?
PROXIMO: Yes I did. You’re good, Spaniard, but you’re not that good. You could be magnificent.
MAXIMUS: I’m required to kill, that is enough.
PROXIMO: That is enough for the Province, but not for Rome. The young emperor has arranged a series of spectacles to commemorate his father, Marcus Aurelius. I find that amusing, since it was Marcus Aurelius, the wise, the all-knowing Marcus Aurelius, that closed us down. So finally, after five years of scratching a living in flea-infested villages, we're finally going back to where we belong. [his eyes glaze over in wonder] The Colosseum. Oh you should see it…the Colosseum, Spaniard…fifty thousand Romans…watching…every movement of your sword…willing you to make that killer blow…the silence before you strike…the noise afterwards…rises, rises like, like..th…like, like a storm. As if you were the thunder god himself.
MAXIMUS: You were a gladiator?
PROXIMO: Yes I was.
MAXIMUS: You won your freedom?
PROXIMO: A long time ago the Emperor presented me with a rudis, just a…wooden sword. A symbol of your freedom. He…touched me on the shoulder, and I was free.
MAXIMUS: [laughing] You knew Marcus Aurelius?
PROXIMO: I didn't say I knew him, I said he touched me on the shoulder once!
MAXIMUS: You asked me what I want? I too want to stand in front of the Emperor, as you did.
PROXIMO: Then listen to me, learn from me. I wasn’t the best because I killed quickly. I was the best because the crowd loved me. Win the crowd, and you’ll win your freedom.
MAXIMUS: I will wind the crowd. I will give them something they’ve never seen before.
GRACCHUS: Then perhaps Caesar will be so good as to teach us, out of his own extensive experience? [laughter]
COMMODUS: I call it love, Gracchus. The people are my children. I am their father. I shall hold them to my bosom and embrace them tightly...
GRACCHUS: Have you ever embraced someone dying of plague, sire?
COMMODUS: No, but if you interrupt me again, I assure you that you will.
[Proximo grabs him by the crotch]
PROXIMO: Those giraffes you sold me, they won't mate. They just walk around, eating, and not mating. You sold me...queer giraffes. I want my money back.
MAXIMUS: Are you not entertained? Is this not why you’re here?
PROXIMO: Yes I did. You’re good, Spaniard, but you’re not that good. You could be magnificent.
MAXIMUS: I’m required to kill, that is enough.
PROXIMO: That is enough for the Province, but not for Rome. The young emperor has arranged a series of spectacles to commemorate his father, Marcus Aurelius. I find that amusing, since it was Marcus Aurelius, the wise, the all-knowing Marcus Aurelius, that closed us down. So finally, after five years of scratching a living in flea-infested villages, we're finally going back to where we belong. [his eyes glaze over in wonder] The Colosseum. Oh you should see it…the Colosseum, Spaniard…fifty thousand Romans…watching…every movement of your sword…willing you to make that killer blow…the silence before you strike…the noise afterwards…rises, rises like, like..th…like, like a storm. As if you were the thunder god himself.
MAXIMUS: You were a gladiator?
PROXIMO: Yes I was.
MAXIMUS: You won your freedom?
PROXIMO: A long time ago the Emperor presented me with a rudis, just a…wooden sword. A symbol of your freedom. He…touched me on the shoulder, and I was free.
MAXIMUS: [laughing] You knew Marcus Aurelius?
PROXIMO: I didn't say I knew him, I said he touched me on the shoulder once!
MAXIMUS: You asked me what I want? I too want to stand in front of the Emperor, as you did.
PROXIMO: Then listen to me, learn from me. I wasn’t the best because I killed quickly. I was the best because the crowd loved me. Win the crowd, and you’ll win your freedom.
MAXIMUS: I will wind the crowd. I will give them something they’ve never seen before.
LUCIUS: Do they have good horses in Spain?
MAXIMUS: Some of the best. [points to the horses on his armor] This is Argento, and this is Scarto. These were my horses. They were taken from me.
LUCIUS: I like you, Spaniard, and I shall cheer for you.
MAXIMUS: My name is Gladiator.
[turns his back on Commodus]
COMMODUS: How dare you show your back to me! Slave! You will remove your helmet and tell me your name.
[Maximus removes his helmet and faces him]
MAXIMUS: My name is Maximus Decimus Meridius, commander of the Armies of the North, General of the Felix Legions and loyal servant to the true emperor, Marcus Aurelius. Father to a murdered son, husband to a murdered wife. And I will have my vengeance, in this life or the next.
RANDOM GUY: Maximus! Maximus! Maximus the Merciful!
[crowd laughs]
MAXIMUS: I have only one more life to take. Then it is done.
COMMODUS: Then take it now…They tell me your son squealed like a girl when they nailed him to the cross. And your wife... moaned like a whore when they ravaged her again and again... and again.
MAXIMUS: The time for honoring yourself will soon be at an end…Highness.
LUCIUS: I don’t know, uncle.
COMMODUS: The little bee told him everything.
PROXIMO: Ha!
COMMODUS: And what of my nephew? And what of his mother? Should they share her lover’s fate? Or should I be merciful? “Commodus the Merciful.” Lucius will stay with me now. And if his mother so much as looks at me in a manner that displeases me, he will die. If she decides to be noble and takes her own life, he will die. [to Lucilla] And as for you, you will love me as I loved you. You will provide me with an heir of pure blood, so that Commodus and his progeny will rule for a thousand years. Am I not merciful? …AM I NOT MERCIFUL?!
COMMODUS: I wonder, did your friend smile at his own death?
MAXIMUS: You should know. He was your father.
