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Gladiator
Score: 89
Directed by: Ridley Scott
Written by: David Franzoni, John Logan, and William Nicholson
Starring: Russel Crowe, Joaquin Phoenix, Connie Nielson, Oliver Reed, Derek Jacobi, Djimon Hounsou, Richard Harris
Rated R for graphic battle scenes.
The slave Juba (Djimon Jacobi), upon hearing someone call Maximus (Russel Crowe) General, says "You're name is great. Get rid of it before it gets rid of you."
This theme that greatness can lead to one's demise if not tamed sounds throughout Ridley Scott's dynamic and intriguing film Gladiator like the ominous song of the Sirens. In fact, this theme weighs heavily upon the Emperor, Marcus Aurelius in the beginning scene after watching his troops conquer the barbaric tribes of Germania.
"Why are we here?"he asks Maximus
"For the glory of Rome." Maximus replies.
The dying Emperor shakes his head in displeasure. "I have not brought glory. I have only brought the sword." Because of this, he has neglected Rome and its people. There is starvation and inequality. The Senate, the voice of the people, are seeking the Emperor's attention on these matters but fear they are falling on deaf ears. A ruler concerned about the people is what Rome needs, not a war-monger.
Knowing this, the Emperor informs Maximus: "I want you to be the protector of Rome, to bring back its power and glory."
Why Maximus? Because he has not been corrupted. Even though he's been named Rome's greatest general, his pride rests not with his greatness but in Rome's. He would care about the people of Rome.
Maximus, however, does not get the throne. Before Aurelius can reveal his wishes, he tells his son and rightful heir, Commodus, that Maximus will be Emperor. Commodus strangles him, has Maximus sent off into the woods to be killed, and then has word sent to Spain to have Maximus' wife and son crucified. Commodus then returns to Rome where he honors his father by giving the people 150 days of gladiator fights in the coliseum.
Despite his efforts to win over Rome, Commodus cannot shake Maximus. His father loved him as a son. His attempt to have him put to death failed. Even putting his wife and son to death didn't conquer Maximus' spirit. And then to top it off, Maximus walks into Rome as a slave-fighter (gladiator) and wins the hearts of Rome's citizenry. This sets up a grand scene in which Commodus decides to fight Maximus in the coliseum.
Commodus is the antithesis of Maximus. Maximus wins respect by fighting with his soldiers and for the king. Commodus wins hearts through giving people what they want or through blackmail. Commodus is as intimidating as the giant columns that tower over the senate floor, as monstrous as the coliseum, and as deceptive and dangerous as the lions den under the coliseum floor.
Rome of antiquity has never looked so grand, nor been displayed more completely than it is in Scott's epic. This grandness and greatness was reflected not only in the digitally created views of the city and the Coliseum, but in the immensity of the Roman war-machine, their large scale attacks on the enemy, and the empire they created. Not only was Rome grand, but it seemed realistic. In one scene in front of the vast coliseum, a flock of birds take flight, fly up, above, and then over the coliseum. The camera, without any noticeable seams, follows them, and even goes higher and more expansive taking in a view of the city.
I was especially impressed with the dreamlike landscapes. In the scene where the wounded Maximus is being carried into Zucabaar, we see the ground beneath him moving and changing while he stays perfectly still. Scott and John Mathison (Director of Photography) were consistent with this method, using it to depict the changing of time, and a different dimension, particularly the after-life. I am reminded of the closing scene in the short film "The Occurrence at Owl Creek," in which the soldier is running toward the end of his road home but the road keeps getting longer; he never gets closer. In all, these scenes enhanced the artistic quality of the film.
I also appreciated the use of light. Commodus hid and lived in the shadows. This represented his character well. One scene in particular comes to mind. Before Commodus fights Maximus, he meets with him underneath the coliseum. "My father loved you like his own son," he said to Maximus. "I guess that makes us brothers." Commodus then gives the bound Maximus a hug, mortally wounding him in the back with his knife. Commodus has his guards dress Maximus in the gladiator armor so no one can see the wound. And then, together, they march to the make-shift elevator that raises them out of the dark underground into the middle of the coliseum. As they are coming up, the sunlight beats down on them, illuminating them. Commodus lifts his arms, welcoming the roar of the crowd. I saw in this and the following fight scene that all Commodus' secrets would finally come to light.
Maximus, as portrayed by Crowe, is "grounded." Throughout the film, before Maximus would go to battle, he would kneel close to the earth, dig his hand deep into the soil, raise it to his chest, sift the soil between his fingers, and then smell it as if it might reveal his fate. Crowe's performance is powerful. He creates a Maximus that is not just mighty in battle, but thoughtful and humble. He radiates a quiet confidence that is both endearing and captivating.
Joaquin Phoenix gives a very noteworthy performance as the troubled Commodus, displaying a complex dementia that reminded me of Shakespeare's great villain, Iago. His Commodus, again, enhanced the dignity and quiet confidence of Crowe's character, thus giving legitimacy to the viewer liking Maximus. In all, Phoenix' performance fortified Crowe's performance.
Gladiator is made complete with an exceptional score, created by Hans Zimmer.
Proximo said to Maximus regarding being a gladiator: "Greatness is an idea, it is a vision." I feel Gladiator is a great epic because it not only had vision and implemented it, but it left pieces of it with the us.
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