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Maximus: I'm required to kill--so I kill. That's enough.

Proximo: That's enough for the provinces, but not for Rome.

A foolish choice in art direction casts a pall over Ridley Scott's "Gladiator" that no swordplay can cut through. The film looks muddy, fuzzy and indistinct. Its colors are mud tones at the drab end of the palette, and it seems to have been filmed on grim and overcast days. This darkness and a lack of detail in the long shots helps obscure shabby special effects (the Colosseum in Rome looks like a model from a computer game), and the characters bring no cheer: They're bitter, vengeful, depressed. By the end of this long film, I would have traded any given gladiatorial victory for just one shot of blue skies. (There are blue skies in the hero's dreams of long-ago happiness, but that proves the point.) The story line is " Rocky " on downers. The hero, a general from Spain named Maximus ( Russell Crowe ), is a favorite of the dying emperor Marcus Aurelius ( Richard Harris ). After Maximus defeats the barbarians, Marcus names him protector of Rome. But he is left for dead by Marcus' son, a bitter rival named Commodus (the name comes from the Latin for "convenient" and not what you're thinking).

After escaping and finding that his wife and son have been murdered, Maximus finds his way to the deserts of North Africa, where he is sold as a slave to Proximo (the late Oliver Reed ), a manager of gladiators. When Commodus lifts his late father's ban on gladiators in Rome, in an attempt to distract the people from hunger and plagues, Maximus slashes his way to the top, and the movie ends, of course, with the Big Fight.

This same story could have been rousing entertainment; I have just revisited the wonderful " Raiders of the Lost Ark ," which is just as dimwitted but 12 times more fun. But "Gladiator" lacks joy. It employs depression as a substitute for personality, and believes that if the characters are bitter and morose enough, we won't notice how dull they are.

Commodus ( Joaquin Phoenix ) is one of those spoiled, self-indulgent, petulant Roman emperors made famous in the age of great Roman epics, which ended with " Spartacus " (1960). Watching him in his snits, I recalled Peter Ustinov's great Nero in "Quo Vadis" (1951), collecting his tears for posterity in tiny crystal vials. Commodus has unusual vices even for a Caesar; he wants to become the lover of his older sister Lucilla ( Connie Nielsen ), whose son he is bringing up as his heir.

The moral backbone of the story is easily mastered. Commodus wants to be a dictator, but is opposed by the senate, led by Gracchus ( Derek Jacobi ). The senators want him to provide sewers for the city's Greek district, where the plague is raging, but Commodus decides instead on a season of games. Proximo arrives with his seasoned gladiators from Africa, who prove nearly invincible and threaten the emperor's popularity. The moral lesson: It is good when gladiators slaughter everyone in sight, and then turn over power to the politicians.

The Colosseum productions play like professional wrestling. Events are staged to re-create famous battles, and after the visitors wipe out the home team, a puzzled Commodus tells his aide, "My history's a little hazy--but shouldn't the barbarians lose the battle of Carthage?" Later, an announcer literally addresses the crowd in these words: "Caesar is pleased to bring you the only undefeated champion in Roman history--the legendary Titus!" The battle sequences are a pale shadow of the lucidly choreographed swordplay in " Rob Roy " (1995); instead of moves we can follow and strategy we can appreciate, Scott goes for muddled closeups of fearsome but indistinct events. The crowd cheers, although those in the cheaper seats are impossible to see because of the murky special effects.

When Maximus wins his first big fight, it's up to Commodus to decide whether he will live or die. "Live! Live!" the fans chant, and Commodus, bowing to their will, signals with a "thumbs up." This demonstrates that Commodus was not paying attention in Caesar School, since the practice at the Colosseum at that time was to close the thumb in the fist to signal life; an extended thumb meant death. Luckily, no one else in the Colosseum knows this, either.

Crowe is efficient as Maximus: bearded, taciturn, brooding. His closest friend among the gladiators is played by Djimon Hounsou , who played the passionate slave in " Amistad ." Since protocol requires him to speak less than Maximus, he mostly looks ferocious, effectively.

Nielsen shows the film's most depth, as the sister. Phoenix is passable as Commodus, but a quirkier actor could have had more fun in the role. Old pros Harris, Jacobi and Reed are reliable; Scott does some fancy editing and a little digital work to fill the gaps left when Reed died during the production.

"Gladiator" is being hailed by those with short memories as the equal of "Spartacus" and "Ben-Hur." This is more like "Spartacus Lite." Or dark. It's only necessary to think back a few months, to Julie Taymor's " Titus ," for a film set in ancient Rome that's immeasurably better to look at. The visual accomplishment of "Titus" shames "Gladiator," and its story is a whole heck of a lot better than the "Gladiator" screenplay, even if Shakespeare didn't make his Titus the only undefeated champion in Roman history.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Gladiator (2000)

Rated R For Intense Graphic Combat

150 minutes

Russell Crowe as Maximus

Joaquin Phoenix as Commodus

Connie Nielsen as Lucilla

Oliver Reed as Proximo

Richard Harris as Marcus Aurelius

• William Nicholson
• David Franzoni

Directed by

• Ridley Scott

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Sorry, Haters: Gladiator Is One of the Greatest Best Picture Winners Since 2000

As the Ridley Scott epic celebrates its 20th anniversary, naysayers have been eager to take it down. But the Oscar winner remains a grand cinematic achievement.

Sometimes a collective groupthink—fueled by critics, Twitter, and critics on Twitter—brings forth an Official Position about a movie, book, television show, or album. But beneath that layer of loud voices vying for RT glory, there exists a population of rational thinkers who quietly disagree. These are dispatches from that population. Sorry, haters.

Earlier this week, Ridley Scott’s 2000 Best Picture-winning sword-and-sandal spectacular, Gladiator , celebrated its 20th anniversary. But it turns out there wasn’t a whole lot of celebrating. That two-headed assassin of the 20th century—hindsight and Twitter—wouldn’t allow it.

One of the more depressing (and disposable) trends in pop-culture journalism on the internet recently is how big, round-number anniversaries of beloved TV shows, once-zeitgeisty albums, and movies that resonated at the box office have become occasions for knee-jerk, contrarian, scorched-earth hot takes that no one asked for but everyone feels compelled to click on.

The format is pretty predictable. The writer will gas on with lip-smacking revisionist cynicism about why that thing that you once loved—and perhaps still do—was never worth its place in your heart to begin with. In fact, you were a fool and a philistine for liking said show, album, or movie in the first place because it’s obviously now a flawed relic. A flawed relic that the SEO gods insist that it’s time to dogpile on and crap all over. Two decades, it turns out, is a remarkably easy perch for a sniper to shoot from. Which brings me to Gladiator .

Twenty years ago, I was assigned to write a long-lead cover story about Scott’s film for another publication. I flew out to Los Angeles to get an early look at the film the day before I was scheduled to interview a slightly surly Crowe at a touristy Tex-Mex saloon on the Sunset Strip with a mechanical bull next to the bar. I was the only person sitting in the cavernous screening room on DreamWorks’ Glendale lot and I’m not ashamed to admit that my expectations were decidedly low.

It had been a while since Scott had made a film that approached the visionary greatness of Alien and Blade Runner . Not to mention that gladiator films were so far out of fashion that you couldn’t think of them without wincing at the oiled-up beefcake memories of Victor Mature and Steve Reeves sucking in their guts in loincloths. But as the lights went down, I was swept up in the movie’s spell. A hair under three hours later, I had to scoop my jaw up from lap. I was transported by every single second of it: Scott’s slick, art-directed world building; the bread-and-circus coliseum action set pieces; Crowe’s tragic and sentimental macho heroism; and Joaquin Phoenix’s sniveling, pasty villainy. Even the slow-motion hand-trailing-through-fields-of-wheat ending felt note-perfect despite the fact that it left no room for the possibility of a sequel.

When it came out, Gladiator got pretty decent reviews ( Variety , Time , and Entertainment Weekly all raved), but it seemed to resonate on a primal tentpole level with moviegoers who turned it into a $460-million hit at the worldwide box-office. So, coming just three years after Titanic , it wasn’t a huge shock when it was eventually nominated for 12 Oscars, including Best Picture.

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Those who weren’t around at the time may not remember this, but Gladiator was the front-runner for the top award all season long. It wasn’t some sort of surprise, pearl-clutching win. Back then, there were only five films in the Best Picture category and each of the movies it was up against were seen as flawed in one way or another: Chocolat was so schmaltzy even Harvey Weinstein couldn’t bully the votes for it; Erin Brockovich and Traffic had the “misfortune” of both being directed by Steven Soderbergh and would thus likely split its votes; and Crouching Tiger, Hidden Dragon , although breathtaking, was too ahead of its time—it would take another 19 years for a foreign film ( Parasite ) to get the Academy’s ultimate benediction. In other words, no one was surprised when Gladiator won. Or disappointed. Because of the nominees, it really was the Best Picture.

As for whether or not Gladiator was a “weak” Best Picture winner, that’s where I really have to draw a line. The Oscars are fun to second guess, especially after the fact. It’s whatever the movie-nerd version of Monday Morning Quarterbacking is, I suppose. Through our current cultural lens, maybe what hasn’t aged so well about the film—and this would be a hot take that I’d actually be interested in reading—is its glorification of a classic white male hero. That seems like a very 2020 idea to slap onto a 2000 film. Would we say the same thing about other past Best Picture winners such as Casablanca , On the Waterfront , or Lawrence of Arabia ? Arguing that Gladiator is somehow a “weak” Best Picture winner goes beyond subjectivity and into the realm of objective absurdity.

Of the 19 movies that have won Best Picture since Gladiator , I’d have to really stretch to find more than three that were better ( No Country for Old Men , Moonlight , maybe Parasite ? Maybe.) Compared to most of the others—an actually weak bunch that includes such flyweights as A Beautiful Mind , Chicago , Crash, Slumdog Millionaire , The King’s Speech , The Artist , and Green Book— Scott’s film feels like one of the most solid selections the Academy has made in the past two decades.

You may disagree about some of these movies. In fact, I’m sure you do. They all won, so they must have their partisans. But singling out Gladiator to dogpile on strikes me as the most craven form of clickbait mongering. Actually, I’d argue that it’s one of the rare popular blockbusters of the past 20 years that also happens to be capital-A Art. Then again, I may be biased. Since that first lonely viewing of the movie in that DreamWorks screening room two decades ago, I’ve probably rewatched Gladiator a dozen times. And while I now kind of find the whole slo-mo hand-through-the-wheat thing a bit hokey, yes, I am still very much entertained.

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Gladiator: Russell Crowe's Epic Journey for Vengeance

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How historically accurate is the Gladiator

This article contains spoilers.

Gladiator was a film released in 2000 starring Russell Crowe that focused on General Maximus Decimus Meridius, who was enslaved after escaping his execution for not supporting the new Roman emperor Commodus (starring Joaquin Phoenix). Maximus rises as a well-skilled gladiator, eventually making it to Rome, where he participates in the gladiator games sponsored by Commodus. After Commodus learns of Maximus, both characters want to kill the other. Maximus attempts to conspire with those in the Senate who dislike Commodus, while Commodus attempts to have Maximus killed in the gladiator battles.

Battles in Germania

Although they were close to annexing Moravia and West Slovakia during his reign, wars there were largely inconclusive. The movie depicts the emperor being killed by his son Commodus, although Commodus was already co-emperor. There is no evidence that Commodus had any difficult relationship with his father, although later authors did disparage Commodus. Furthermore, although Maximus is mostly a fictional character, it is not likely Marcus Aurelius would appoint a general as protector of the empire, as suggested in the movie where shortly before his death, the fictional Marcus Aurelius asked Maximus to lead the empire.

In fact, in the film, a conflict in Marcus Aurelius' mind was whether to return power to the Senate rather than have it mostly be with the emperor. This is unlikely as Marcus Aurelius, although often considered a wise emperor and even called the "philosopher-king," as suggested in the film, still believed in holding power closely and willingly passed power to his son, something a Roman Emperor had not done for about a century. [1]

Marcus Aurelius appointed his son as successor long before he died in 166 (he died in 180 CE), making it clear that Commodus was his choice all along. He also died in Vienna (ancient Vindobona), but the film showed him dying in Germania during the campaign. Some rumors and stories did circulate that Commodus did kill his father, but this could have been later stories created to malign the emperor Commodus since he was not well-liked by the Senate, as suggested in the film. The appointment of Commodus was controversial, as shown in the film. From historical documents, mainly in the writings of Cassius Dio, there is an indication that Marcus Aurelius was disappointed in his son, suggesting he had some trepidation about him. Cassius Dio indicates that Rome suffered as Commodus came to power, but this could be part of later propaganda after Commodus's reign. It is hard to tell what is exactly accurate as Commodus may have been more disliked by the upper classes. At the same time, some indication suggests he was popular with the army or even lower classes as a sort of peoples' emperor. [2]

Were the Gladiator Contests shown in Gladiator Accurate?

Excavations at the Colosseum showed a variety of exotic animals were present there. This included: bears, lions, hyenas, elephants, wild boar, buffalo, tigers, bulls, wolves, and leopards. The gladiators' clothing, particularly the helmets, were likely, not true and were stereotypes taken from later periods. [3]

The Colosseum (Figure 1) was the premier event for gladiator contests after its construction in 70-80 CE. Ambitious trainers, similar to how the film depicts it, would try to situate themselves to compete in main events that promised large financial rewards. Like sport today, the gladiator games had a lot of money exchange hands around the events. This revolved around gambling on the matches but also rewarded the owners from the gladiator slaves, which is one reason why the mass killing of gladiators may not have occurred that often. [5]

Something not shown in the film is that gladiator contests may have looked familiar to us. Gladiators often were used to sponsoring products, and billboards often hung in the stadium where contests would have been held. These advertisements were not shown in the film, mostly because the producers thought film audiences would not believe it since it is so similar to our modern sports. [6]

Who was Maximus Decimus Meridius Based On?

Maximus Decimus Meridius : Maximus is an entirely fictitious character but seems to be based on several characters, including Avidius Cassius, a general in Marcus Aurelius' armies. He declared himself emperor shortly after thinking Aurelius died in 175, suggesting a brief power struggle. Still, he was eventually killed after it became clear Aurelius was not dead. A general named Maximus lived in the late Roman Empire who may have inspired Gladiator's story of a revolt against an emperor. [8]

Who were the Real People portrayed in Gladiator?

He even started killing many disabled people in the arena, which may have been one of the final straws before he was assassinated. However, his political actions were also likely unwise. He tried to declare himself consul and gladiator, where the former is an elected position and the latter usually only slaves should hold. Narcissus, his wrestling partner, eventually killed him in 192 as part of a larger conspiracy by Roman leaders. [9]

Lucilla : She was Commodus' sister, and in the film, she was depicted as trying to encourage the conspiracy against her brother. She did conspire to kill Commodus but failed in 182, leading to her death. Unlike what the film depicts, Lucilla was probably ambitious to be a co-ruler with her husband (she is shown as a widow in the movie), which is why she may have conspired against her brother. However, she may not have considered herself a possible ruler until she witnessed her erratic brother's behavior. Unlike the film, Commodus probably did not seek to have an incestuous relationship with his sister. [10]

Conclusion and Accuracy

There were many historical inaccuracies in the film. The historians who were hired to advise the movie quit or refused to be given credits because of the many historical inaccuracies the final version had. Nevertheless, as with most historical dramas, this movie was more about entertainment than historical narrative.

The overall narrative of a somewhat crazy emperor in Commodus was correct. Oddly enough, the reality of Commodus' reign was probably more outrageous than what was shown in the film, as the emperor often made himself dress as a gladiator and fought numerous contests with animals and others, such as wounded gladiators.

If you want to learn more about gladiators, check out our article How Did Gladiatorial Games Evolve in Ancient Rome? for more information.

Related DailyHistory.org Articles

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Masterful but really violent Oscar winner.

A Lot or a Little?

What you will—and won't—find in this movie.

"Strength and honor" is the motto Maximus lives by

After a traumatic past, Maximus seeks vengeance bu

Maximus is Spanish, identified as the "Spaniard,"

Many bloody battle scenes and deaths. Main charact

Kissing. An exposed male backside is seen.

"Bitch," "whore," and one "s--t." A trader who has

Parents need to know that Gladiator is an action movie starring Russell Crowe as a Roman general named Maximus who's betrayed by a power-hungry emperor's son and must survive as a gladiator. Set in Rome in 180 AD, the film takes liberties with history but was inspired by real events, when gladiators were…

Positive Messages

"Strength and honor" is the motto Maximus lives by, upholds throughout extreme hardships, and inspires in others, particularly when he commands freedom for his fellow prisoners.

Positive Role Models

After a traumatic past, Maximus seeks vengeance but upholds the motto "strength and honor" by remaining loyal to his friends. He has ideals of freedom and inspires crowds to choose mercy. Lucilla is a dedicated mother whose protects her son.

Diverse Representations

Maximus is Spanish, identified as the "Spaniard," played by Russell Crowe who's of Māori and Scottish descent. The cast includes mostly White characters, with a Black Numidian character, Juba, played by Djimon Hounsou, who's Beninese American. The film heavily focuses on a slavery narrative, with enslaved people of different ethnicities and genders shown in chains, cages, and prisons, forcibly pitted against each other in gladiator arenas and otherwise abused. Women are largely relegated to cliches of being subservient to men and their aims. Citizens of Rome in background roles are cast diversely. Battle scenes include Germanians portrayed as "barbarians."

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Many bloody battle scenes and deaths. Main character's wife and child are burned and crucified off-screen; charred ankles and feet are shown. Tigers are caged, chained, and killed with swords. Decapitations. Bodies cut in half with swords. Lots of blood. Maximus cuts into his skin to remove the tattoo that distinguishes him as a Roman soldier and general. A character asks another character whether he'd like a "girl" or a "boy," implying child prostitution. In a reference to rape, a character is said to have "moaned like a whore." A character sexually abuses his sister by demanding she provide him with an heir, lightly touching her without her consent, etc.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"Bitch," "whore," and one "s--t." A trader who has purchased two giraffes openly wonders whether they're "queer giraffes" because they aren't mating.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Gladiator is an action movie starring Russell Crowe as a Roman general named Maximus who's betrayed by a power-hungry emperor's son and must survive as a gladiator. Set in Rome in 180 AD, the film takes liberties with history but was inspired by real events, when gladiators were enslaved people forced to fight before crowds as a form of entertainment or social control. Things get very violent: A woman and child are brutally tortured, killed, and crucified, mostly off-screen, but their charred feet and ankles are shown. People are sliced up, burned, and decapitated. Blood is constantly being shed. Tigers are killed with swords, and there are references to rape and incest. Characters kiss, and an exposed male backside is visible. Language includes "bitch," "whore," and one use of "s--t." Overall, the movie explores themes of freedom and mercy. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (38)
• Kids say (129)

Based on 38 parent reviews

What's the Story?

In GLADIATOR, it's 180 AD and the aging Emperor Marcus Aurelius ( Richard Harris ) watches as Maximus ( Russell Crowe ), his most trusted general, leads Rome in a fight with the Germanians in a terrible, bloody battle. The emperor's son, Commodus ( Joaquin Phoenix ), wants to succeed his father, but Caesar doesn't think he has what it takes. When Aurelius chooses Maximus to lead the people back to democracy, Commodus kills his father before the Senate hears about Maximus, then orders the execution of Maximus and his family. Maximus escapes, is captured, is sold into slavery, and becomes a gladiator. To confront Commodus, he must win enough fights to be called to Rome. Meanwhile, Commodus finds ways to distract the populace while he disables the Senate. The only one he trusts is his sister, Lucilla ( Connie Nielsen ), who pretends to support him to protect her young son.

Is It Any Good?

This is a movie of such astounding scope and sweep, and such masterful storytelling, that it makes its core plot seem classic rather than cliched. Impressive visuals in Gladiator imagine Ancient Rome as a world with enormous reach and power. Fictionalizing parts of history, director Ridley Scott stages the fight scenes brilliantly, each more inventive and gripping than the last. The results are something like an intense computer game, with new perils coming from all sides. The movie portrays Rome as a bloodthirsty culture, and Maximus' fellow gladiator Juba ( Djimon Hounsou ) reflects on ethical contradictions, saying that fear and wonder are a powerful combination.

Talk to Your Kids About ...

Families can talk about why some people are drawn to watch other people battle, as they do in Gladiator . What's the appeal of movies like this?

There are many historical inaccuracies in this movie. Why do you think the filmmakers decided to tell a fictional account of the Roman Empire instead of sticking to the facts? Does it change your viewing experience at all?

What do you think would be the challenges in bringing to life the Roman Empire circa 180 AD? The production sets, costumes, language? What area interests you most?

Movie Details

• In theaters : May 5, 2000
• On DVD or streaming : August 19, 2003
• Cast : Connie Nielsen , Joaquin Phoenix , Russell Crowe
• Director : Ridley Scott
• Inclusion Information : Female actors
• Studio : Universal Pictures
• Genre : Drama
• Run time : 155 minutes
• MPAA rating : R
• MPAA explanation : violence and some sexual references
• Awards : Academy Award , BAFTA - BAFTA Winner , Golden Globe - Golden Globe Award Winner
• Last updated : June 20, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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7 ways gladiator was historically accurate (& 9 ways it wasn’t).

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Gladiator True Story & Historical Accuracy: How Much Really Happened

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• Gladiator , the Oscar-winning 2000 movie from Ridley Scott, takes creative license with the factual events of Ancient Rome, but some aspects reflect real historical truths such as the process of granting freedom to gladiators.
• The character of Marcus Aurelius in Gladiator is fairly historically accurate, depicting him as a competent and fair ruler who co-ruled alongside Lucius Verus.
• While Gladiator suggests that gladiators achieved celebrity status, they were actually seen as lowly and their purpose was to fight and die. However, it is true that gladiators included product placement in their routines.

Movies based on real life are never completely accurate, and the Gladiator historical accuracy has been hotly debated since the Oscar-winning movie came out in 2000. There are several things that this movie fictionalizes, including the main character, the fate of the villain, and even the events that happened in the military and gladiatorial battles of Ancient Rome. While Gladiator had a team onboard to ensure its historical accuracy in many areas, several things bothered even these crew members, as Ridley Scott took some serious creative license with the factual events of the Roman Empire at the time.

While many moments in Gladiator are inaccurate compared to real life , several of the movie's scenes reflect what happened in Ancient Rome. While Maximus might not have been based on a real historical figure, he was based on many historical accounts of real gladiators and the lives they led. Scott also left out some genuine historical truths because he thought no one would believe it was true. One example is the real gladiators of Rome promoting products before and after fights, which really happened, but Russell Crowe said was " not going to ring right to a modern audience " (via Variety ).

Ridley Scott's Gladiator is based in the history of ancient Rome, but while the movie is accurate in some areas, it take poetic license in others.

How Gladiator Was Historically Accurate

1: the symbol of freedom.

One of the more interesting characters in the film was Proximo, the former gladiator who opened his own arena in Rome after gaining his freedom. His description of the process by which a gladiator would be given his freedom is historically accurate. Once a gladiator had survived to reach retirement or had earned his freedom, he was given a wooden sword, or 'rudis', as a symbol . Although Proximo was freed by Emperor Marcus Aurelius, it was not necessary for every gladiator to receive that dispensation from the Emperor himself.

He is a cynical man when first introduced, seeing human life as a short and rather meaningless thing.

The detail helps to add complexity to the character of Proximo. He is a cynical man when first introduced, seeing human life as a short and rather meaningless thing. Having lived in a world in which death was dealt with as a game, it is easy to see how he earned that point of view. This historical detail will carry over into the sequel as Gladiator 2 will also feature an enslaved gladiator who won his freedom.

2: Marcus Aurelius, The Man

The film takes a few liberties with the character of Marcus Aurelius, particularly when it comes to the nature of his rule. At the time, he co-ruled alongside Lucius Verus, his daughter's husband. Besides the small caveats, Aurelius was something of a celebrity during his 161–180 CE reign. He was considered a good ruler, both competent and sound of mind, fair and tempered . This certainly seems to translate well into the figure depicted on screen, and his depiction in Gladiator is fairly historically accurate.

Though he has a small role in the movie, Aurelius is a key figure in the story and it is essential the audience understand him as a ruler before he dies . Richard Harris' performance helps to sell the respect Aurelius commanded and the intelligence of his rule. This is reflected in how Aurelius wants Maximus to rule as a just man and how he sees his son, Commodus, as potentially poisonous to Rome.

3: The Social Status Of Gladiators In Rome

Gladiator attempts to add a bit of glamor to the life of a gladiatorial combatant by suggesting that the best of the best would achieve celebrity status. In reality, the combatants were lower than dirt in the eyes of many Roman people. They were there to fight and die, nothing more. That being said, the cost-prohibitive nature of bouts to the death meant that most gladiators yielded in combat in order to fight another day.

While the popularity that Maximus earns in the movie differs from how most gladiators are treated, the movie makes a point of showing that he is an outlier . The fact that a gladiator is able to win over the people in such a way is seen as a true underdog element to the story. It is also interesting to note that the gladiators in real life included product placement in their routines, a historically accurate moment Ridley Scott chose to leave out of Gladiator .

4: The War In Germania

Gladiator had one of the most stunning and visceral openings to a classical epic ever filmed – a huge battle between the Roman army, and the Germanic hordes. Shot in a jarring and violent manner, the sequence puts the audience directly in the middle of the battle to feel the raw grit, dirt, and blood. Historically speaking, the suggestion that the Roman Empire was engaged in a prolonged war with Germanic tribes is accurate . Marcus Aurelius spent the latter part of his reign securing the northern frontier in an attempt to keep the Germanic tribes at bay.

Gladiator 's opening battle is not just a thrilling way to kick off the movie, but also an essential part of the storytelling. The moment establishes Maximus as an effective commander and determined warrior in his own right. From the horrors of being on such a battlefield, it is not surprising that he is able to face the brutality of the gladiator arena with ease and use his skills as a commander to excel.

5: Maximus' Character

The character of Maximus Decimus Meridius may be fictional, but his personality and characteristics were firmly steeped in Roman history. When Rome faced a dire external threat, the Senate would appoint one man to see it through, with the expectation they would relinquish power when the threat was vanquished. As the legend goes, the Senate approached Lucius Quinctius Cincinnatus to subdue a hostile force. It took Cincinnatus 15 days to quell the threat, and once he did, he returned to his modest farming life. Maximus’ steadfast refusal to assume power in Rome mirrors that of the legendary Roman general Cincinnatus.

The amazing real-life figure provides a terrific model for the character of Maximus. As heroic as Maximus is, there is a tragedy to the character in that he wants to escape the world of violence but is continuously thrown back in it due to being such an effective warrior.

6: Enmity Between The Praetorian Guard & The Legion

The Praetorian Guard were the Roman Emperor’s personal bodyguards and intelligence gatherers, keeping him safe from physical and political threats. The life of a Praetorian Guardsman was different from that of a Legionnaire, as they got to stay in Rome in relative comfort and safety, while the legions fought on the outskirts of the Empire. This didn’t sit well with the average soldier, who looked at the Praetorians with disdain.

The rivalry in Gladiator is historically accurate, portrayed perhaps most prevalently in the scene where Maximus escapes his execution in the North, calling one of his would-be executioners “Praetorian” in a derisive way, before dispatching them. It is a subtle detail, but it makes sense to make that distinction in this sequence. Having seen Maximus as a strong leader, it would have been off-putting to see him killing his own men even if it did allow for his escape.

7: Loyalty Of The Legion

Maximus told Gracchus, “ Let my men see me alive, and you shall see where their loyalties lie. ” Roman armies were extremely loyal to their generals, something Gladiator got right about Roman history. The strong sense of loyalty and camaraderie from Legionnaires who fought and bled together for the Empire is recounted in many historical accounts from the time. Also, Roman generals were responsible for securing retirement packages for their troops in the form of land, pensions, or the promise of spoils from war.

This is a key detail in the character of Maximus as he brings over that quality to being a gladiator.

Generals who ate with their soldiers, slept in the same barracks, fought side-by-side with them, and guaranteed a comfortable retirement were idolized and fought for till death. This is a key detail in the character of Maximus as he brings over that quality to being a gladiator. While these fighters fought for themselves and their own survival, he showed them respect and brought them together as a single army which made their chances of surviving even greater.

The Historical Inaccuracies In Gladiator

1: maximus' existence.

Russell Crowe's portrayal of Maximus sets the narrative tone. His tribulations, losses, and victories are all born from a system that once held him aloft, only to send him into the abyss when it was convenient. As effective as the story of Maximus is, the character didn’t exist. He's a complete fabrication created solely for the movie and has no mention in history whatsoever. Hollywood films often do this in order to create a recognizable anchor for the audience to follow along.

Gladiator takes the audience back to Ancient Rome and uses details about the reality of this era to enhance its original story of Maximu s. While the movie could have drawn on real-life gladiators of the past, such as with Stanley Kubrick's Spartacus , inventing these aspects of Maximus allowed Gladiator to its their own unique and impactful hero untethered by historical fact.

2: The Presence Of Christianity In Gladiator

The film insinuates that Christianity is an influential religion during the time period in which the story takes place. Hints of this are strewn about, particularly during a conversation between Lucilla and Maximus where she mentions praying in a manner that suggests it's a private practice. The prevalence of Christianity during this point of the Roman Empire was historically inaccurate in Gladiator . Lucilla would never have gone against the Roman religion of the time, and Christianity would not hold sway over the Empire until much later in 380 CE .

It creates a sense of gravitas by adding Christianity as an anchor for the audience, but it's a false assumption. However, religion is not something that places a large role in the movie or in guiding any of the character's motivations. While this is also likely inaccurate with the culture of the time, the lack of religion or mistakes in how it is represented don't particularly affect the plot.

3: Weapons Of War During The Time Period

Historical movies tend to fictionalize the little things, but those who know said history can spot them a mile away. Weapons are one of the things that suffer the most in adaptations, as filmmakers sometimes yank items out of an arsenal from an entirely different time period. Gladiator features massive dart launchers and catapults to sell the excitement of the opening scene in Germania, one of the most epic opening battles in cinematic history.

Unfortunately, these were siege weapons in use at the time as a means of stationary defense , as opposed to moving platforms fighting in a forested environment. The inclusion of these weapons in the opening battle provides an extra sense of epicness to the sequence while also showing how much more advanced the Roman army is compared to the Germanic army. However, these details are small overall and the movie likely could have done away with the inaccurate weaponry without taking anything away from the scene.

4: Marcus Aurelius Banned Gladiator Battles

In Gladiator , Marcus Aurelius banned gladiator games, according to Antonius Proximo. He called Marcus wise for making this decision. The real Marcus was indeed against the bloodlust of gladiator games, but he kept them going because of their overwhelming popularity. However, he did everything he could to make them safer for the enslaved involved in these battles. He took away blades and made the gladiators use blunted weapons , making it more of an athletic competition than a fight to the death. This ended up helping the nation as Marcus used gladiators in the first Marcomannic War.

The point of the movie including Marcus's opposition to the violence of the games is to show how he differs from his son Commodus. Upon becoming Emperor, one of Commodus' first acts is to continue the gladiator games. While this could have been achieved through Commodus simply reintroducing real blades and death into the fights, his bringing the games back after an absence also helped Commodus earn the support of the people.

5: Thumbs Up/Down

Historical battle scenes like the ones depicted in Gladiator rely a great deal on intense drama and exciting themes to draw the audience in. One of the ways the film does this is by featuring several scenes where the fate of the arena combatants is decided with a thumbs-up or down gesture by Joaquin Phoenix's terrifying Commodus. However, there is little evidence that these precise gestures were used.

The erroneous belief comes from a painting of Roman gladiators by Jean-Léon Gérôme named Pollice Verso , which shows the audience using the thumbs-down sign to call for the death of the defeated gladiator. However, it is a very memorable inclusion in the movie and a standout Commodus moment. It shows that he has such a flippant attitude towards life and death and enjoys playing God. However, that power is turned on him when the crowd pressures him into allowing Maximus to live, giving the reluctant thumbs up.

6: Lucilla & Commodus

Lucilla was presented as an upstanding woman in Gladiator who was concerned with the state of the Roman Empire. Her tempestuous relationship with her cruel brother Commodus is a main theme in the movie. Although it’s true that Lucilla did organize a botched assassination attempt on Commodus, there’s no evidence that he ever harbored any erotic feelings toward her .

It’s probable that Rome’s reputation as an opulent, corrupt, and depraved empire may have inspired the film’s screenwriters to include such a salacious plot point in the script, but it has no basis in historical fact. Of course, the detail is also quite fitting for the sadistic villain of Commodus. The relationship shows his twisted mind while also highlighting his need for affection which his father denied him all his life. It also adds another sympathetic element to Lucilla's character as she feels trapped by her dangerous brother.

7: Roman Democracy

Audiences may have thought the Roman Empire more progressive than originally perceived when Gracchus states that “ ...the Senate is the people, sire. Chosen from among the people. To speak for the people ,” envisioning a state similar to modern forms of representative democracy. However, there are inaccuracies in this statement as the Roman Senate’s composition was made up of representatives from Rome’s oldest leading families . Eventually, the nouveau-riche and provincials gained entry as well, but the interests of the Senate were usually selfish in nature, looking to increase personal and familial stature, and rarely looking out for the common folk.

The idea of taking power away from Commodus and returning it to the senate was seen as the key element in the climax and Maximus's heroic journey.

This is certainly one of the biggest stretches that Gladiator makes. The idea of taking power away from Commodus and returning it to the senate was seen as the key element in the climax and Maximus's heroic journey. To reveal this mission would have just led to more power for the richest citizens and would have robbed the movie of its victorious ending.

8: Commodus, The Man

Commodus was depicted as somewhat of an unhinged villain in Gladiator , but his real-life persona was far more outlandish. In fact, the film touches only lightly on the depths of his depravity. Once in power, he literally renamed Rome "the Colony of Commodus" in an obvious example of megalomania run wild. He was more like Caligula in many respects, with massive indulgences being something of a staple of his weekly schedule . Unfortunately, his legacy would suffer at the hands of historians who did not take pity on him as they recounted his deeds.

Joaquin Phoenix infuses his performance as Commodus with a sense of a spoiled and entitled child which is perhaps influenced by the real figure. However, he is much more effective as a villain in this story, with Gladiator focusing on his bloodlust and unserious role as Emperor. It connects more closely with Maximus's journey in the movie while also distancing Commodus from his father.

9: The Deaths Of Marcus Aurelius & Commodus

Marcus Aurelius was one of the greatest Emperors of Rome, the last of the 'Five Good Emperors' of the Antonine Dynasty, and historically renowned as a Platonic philosopher-king for his works in Stoic philosophy. Although it makes for a compelling drama to have him smothered by his son Commodus, the murder scene in Gladiator didn't actually happen.

The real Marcus Aurelius died of natural causes.

As for Commodus, his fate was far less extravagant than the one seen in the film. He was actually assassinated by his sparring partner, a wrestler by the name of Narcissus , who had been bribed in a plot to replace the mad Emperor.

As inaccurate as these deaths are in the movie, it is easy to see why they were chosen. Commodus killing his father was the beginning of his villainous journey and it is fueled by the jealousy he felt toward Maximus. This sets the two men on a collision course which brings them to their final confrontation inside the gladiator arena. Commodus's death is a satisfying one as he is someone who built himself up as a warrior only to die in fear and defeat against a true warrior.

Is Gladiator 2 Set To Be Historically Accurate?

The story of lucius verus ii will be largely fiction.

Gladiator 2 will be even less historically accurate than the first Gladiator movie. This is because the movie plans to tell a fictionalized tale about a real historical figure, with things that never actually happened in real life. The sequel will pick up 20 years after the end of the first Gladiator movie with Lucius Verus II and is also referred to as a revenge tale.

There are two real-life emperors in the movie — Caracalla (Joseph Quinn) and Geta (Fred Hechinger). Geta granted citizenship to all free men in real life, so there is the idea that Lucius will help set this plan into motion, adding a fictional story to an important historical event.

The problem with Gladiator 2 lies in the fact that Lucius Verus II died at a very young age in real life. While he was a boy in the first movie (played by Spencer Treat Clark), the real Lucius died very young. Almost all of Lucilla's children died at a young age, mostly from unknown cases. If Lucius had lived, he would have been in line for the throne, but he died.

Furthermore, Lucilla was banished and executed for a failed assassination attempt on Commodus in real life. This resulted in the actual challengers for Commodus' throne being contested by five men, most of whom had nothing to do with the original Gladiator movie story.

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While not everyone will be entertained by Gladiator 's glum revenge story, Russell Crowe thunderously wins the crowd with a star-making turn that provides Ridley Scott's opulent resurrection of Rome its bruised heart.

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In the movie, many things portrayed are the same as what really happened in Roman history. Some things though, are a little different in the actual history of Rome than in the movie. Scenes were changed in the movie too, to make the plot more interesting.

Maximus was the general of Rome and a really good general at that. He led Rome to many victories. He was so great and loyal that in the movie, Marcus Aurelius actually asked him to succeed him on the throne. When Commodus heard this from his father, he killed him and sentenced Maximus to death.

When Maximus escaped, he was picked up by a group of men and sold as a slave to become a gladiator. As a gladiator, he fought many different types of gladiators. Quicker ones had nets with tridents and slower ones had curved swords with shields.

There were some gladiators that even had chariots. In the actual history of Rome, there really were different types of gladiators. The gladiators with the net and trident were called the Retiarius. The gladiator with the curved sword and shield was called the Samnite. 

There’s a scene in the movie where it’s a one on one battle between Maximus and a champion gladiator. Maximus is barely armed and protected. The other man has two swords, a mask for protection, and heavy armor. This shows how each type of gladiator was to fight a different kind of gladiator so the match would be even and fair.

In the movie, Commodus is very sneaky and vengeful. He uses murder in his politics also. He killed his father, tried to kill Maximus, and even wanted to get rid of the senate in order for him to become a “true emperor.” He thinks the Senate is unneeded and believes himself to be more of a people’s person than the actual senators. In history, there was much murder in the government also. The Gracchi were murdered as well as Caesar. Commodus tries to assassinate and kill Maximus since Maximus is supposed to be the successor to the throne after Marcus Aurelius. In Roman History, the Romans never developed a formal policy of succession. Although many emperors named their successors, the Roman army often refused to accept the new emperors and assassinated them. This is what Commodus tried to do with Maximus in order for himself to become emperor and rule.

Gracchus wants the citizens of Rome to be happy in the movie and makes sure the emperor hears the problems and needs of the people when he councils with him. He even suggests possible solutions to the problems. He seems to be a people’s person very much and knows how some of the senators can be crooked. In Roman history, there were actually two Gracchis who were actually both murdered because they were disliked by crooked senators who used violence to get ahead. The real Gracchis wanted to help the citizens out also. They even used public funds to purchase grain to be sold to the poor at low prices so they can afford it. They also improved the political status of the equities (business and landowning people.)

Lucillia, the sister of Commodus, has a son named Lucius. Her son was named after his father who died in 169 A.D. His name was Lucius Veras. In the movie, she is portrayed as a widow, but, in real history, she remarries Tiberius Claudius Pompeianus Quintianus of Antioch. In the movie, she joins the plot for the good of the Roman people but she really participated in this plot because she lusted after power. She also supports her brother in the movie but was actually involved in a plot with her cousin to assassinate Commodus and raise her husband up as emperor. The plan was figured out and she was banished to the island of Capri. In the movie, it shows her as out-living her brother but she is actually executed at the island because he changed his mind.

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Essay on Gladiator movie

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In this paper I would like to present the film Gladiator (2000) by Ridley Scott as the research material to know and understand better what was going in Roman Empire in the late 2nd century A.D. and whether the movie reflects the true events and characters of that time.

Gladiator is the Hollywood movie directed by Ridley Scott, which tells the story of depression and elevation of the general Maximus Decimus Meridius, who was the leader of the Roman Army. The film starts with the battle of the Roman armies against Germanic barbarians in 180 A.D., which ended the long lasting war and the Emperor Marcus Aurelius finally got esteem for it. Marcus Aurelius understands that his life is coming to the end, and though he has a son- Commodus, he decides that Maximus with his bravery, courage and high moral principles could be better leader. His long-term objective is to return power to people, to Roman Senate.

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Therefore, when the army celebrated victory, Aurelius offers Maximus to lead Roman people after his death. Maximus is very much surprised, though he has to give his answer till dawn. Then Commodus comes to his father, he is not very sincere and seems a little bit insane in his desire to power, and Aurelius reveals him his intentions regarding Maximus as the future leader. Deeply insulted, Commodus strangles his father and makes an order to kill Maximus, as well as his wife and his son. Maximus understands that Marc Aurelius’s death was not accidental, and Lucilla, Commodus’s elder sister realizes this fact as well.

Maximus escapes execution and races to his family, but he is late just for few hours- his wife and son were crucified, and his house burnt.

After Maximus buries most precious for him people, he is very exhausted and just falls on their graves. He is found by slave traders and taken to Zucchabar (North Africa) where he is purchased by Proximo, who is the leader of school of gladiators. Maximus feels very depressed and therefore he refuses to fight at the very beginning, but on the arena he shows his true fighting skills that increases his popularity among people.

At the same time in Rome, Commodus is trying to be closer to his people and please them and therefore he makes the decision to start gladiatorial games.

The official version is to commemorate the death of his father. Proximo and his gladiators are hired to participate. During the first fight, the aim of which was to reconstruct the Rome’s triumph over Carthage, Maximus shows his strategic power as of the general and as of the soldier, and even Commodus is intrigued with the gladiator called “The Spaniard”, but as Maximus wears helmet, he doesn’t recognize him. After the show is over, Commodus descents to the arena to greet the victors and tell the Spaniard to remove his helmet and announce his name. Maximus at first turns to Commodus with his back, but then shows his face and says: “My name is Maximus Decimus Meridius, Commander of the Armies in the North, General of the Felix Legions, 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.” Commodus is deeply shocked, but now he cannot kill Maximus, as the crowd approves him. Commodus decides to act strategically and calls Maximus in the fight against Tigris of Gaul, he also adds some tigers on the arena, but Maximus not only survives, but also reveals himself as the merciful gladiator, when he refuses to behead his opponent as Commodus commanded.

After the fight, Maximus meets his servant Cicero who tells him that Maximus’s army is still faithful to him and is camped at Ostia. Maximus along with Commodus’s sister Lucilla and Senator Gracchus decide to overthrow Commodus, but Commodus is not that silly, as he suspects his sister in conspiracy. He threatens her son and she tells him everything. Commodus immediately gives an order to storm the gladiator barracks. Maximus escapes, but Haken and Proximo are murdered. Juba, Maximus’s close friend, is imprisoned. After the escape, Maximus gets to the ambush of Praetorian guards.

Commodus is still burning with the desire to kill Maximus and he challenges him on the duel on the arena. And even though Commodus brings a stiletto to kill Maximus, Maximus kills him with his own weapon. But severely wounded, Maximus is also dying. He sees his family and obtains the inner peace. He is buried by Juba with two tiny statues of his wife and his son.

The story told by The Gladiator is far from real historical facts of the period. First of all, I must say that no great battles with Germanic tribes are reported in historical sources just before the death of Marcus Aurelius. Marcus Aurelius died in 180 A.D. just before he was going to start new military campaign (Birley, 2000).

Speaking about Marcus Aurelius and his relationship with his son Commodus, as well as his image in the movie, the decision of Aurelius to give power to Maximus to restore free Republic is ridiculous, in reality he was against Republic restoration. Commodus did not kill his father as well. Not because Marcus died most probably of plague, which was very spread at that time period. Commodus in the movie is depicted as lazy father’s son, which in reality was not true. Beginning with 177 A.D. Commodus ruled jointly with his father and they jointly commanded wars. As to the Commodus’s image in the movie, he is around thirty years old, has black curly hair, is right handed and is of average built. History reveals that when Marcus died, Commodus was eighteen years old, was very strong, was blond and left handed. He was also not single, as at the age of sixteen he was married to Bruttia Crispina, though then he executed her in 182 or 187 A.D. after her adultery. Commodus’s death was also fictional, as he was strangled by the wrestler in 192 A.D. and not stabbed on duel, though it is true that Commodus was the only Emperor who participated in gladiatorial fights.

Maximus never existed at all. He could be the composite image of the courageous general and the soldier from the province. There is no mention of such a character in historical sources.

Gladiators of the late second century A.D., as well as their fights, were not exactly how they are shown in the movie. During the period gladiators were divided into definite categories in accordance with their fighting style, armor and arms (Kyle, 1988). And their fights were always individual duels that were fought under rules enforced by referees (Kohne and Ewigleben, 2000).

I would like also to mention that the breed of the Maximus’s dog- German shepherd- did not exist at that time. During the battle, they were using mechanical dart launchers and fire- curling catapults against Germanic tribes, which is impossible for ancient times (Winkler,2004).

Regardless some historical inaccuracies, the movie very brightly revealed the spirit of the time. Rome at that period was violent and bloody, Emperors were mainly fighting and spent little time improving lives of common people. Gladiatorial fights served as the tools of showing that death is near and how it should be heroically met or was an allegory to reveal that life is cruel and one can die any moment.

Despite lack of truthful details, the story of Gladiator is not less interesting and absorbing. It contains real and fiction characters and tells how life in Ancient Rome could be. ………………………………………………………………………………………………………………………………….

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Essay on Movie Review of "Gladiator" the Movie

"Gladiator," directed by Ridley Scott, stands as a timeless epic that continues to captivate audiences with its gripping narrative, stunning visuals, and powerful performances. Set in ancient Rome, the film follows the journey of Maximus Decimus Meridius, a revered general who finds himself betrayed and forced into slavery, only to rise as a gladiator seeking vengeance against the corrupt emperor who murdered his family and seized power.

From its opening scenes, "Gladiator" immerses viewers in the grandeur and brutality of ancient Rome. The film's meticulous attention to detail, from its elaborate sets to its authentic costumes, transports audiences to a bygone era, where the spectacle of the Colosseum and the political intrigue of the Roman Empire unfold with breathtaking realism. Ridley Scott's masterful direction ensures that every frame is infused with a sense of epic scale and visceral intensity, making "Gladiator" a cinematic spectacle that demands to be experienced on the big screen.

At the heart of "Gladiator" is Russell Crowe's tour de force performance as Maximus. With steely determination and quiet dignity, Crowe embodies the character of a man driven by honor and revenge, channeling both strength and vulnerability in equal measure. His commanding presence anchors the film, providing an emotional core that resonates long after the credits roll. Opposite Crowe, Joaquin Phoenix delivers a chilling portrayal of Emperor Commodus, whose descent into madness and depravity serves as a stark contrast to Maximus's steadfast resolve. Their dynamic, fraught relationship forms the emotional crux of the film, driving the narrative forward with a sense of inevitability and tension.

"Gladiator" is more than just a tale of vengeance; it is a meditation on power, loyalty, and the human spirit. Through its exploration of themes such as honor, sacrifice, and the corrupting influence of absolute power, the film transcends its genre trappings to offer profound insights into the human condition. As Maximus fights for justice in the arena, he becomes a symbol of hope for the downtrodden masses and a thorn in the side of the ruling elite, inspiring audiences with his courage and resilience.

In conclusion, "Gladiator" is a cinematic triumph that continues to endure as a modern classic. With its epic scope, compelling characters, and gripping action sequences, the film remains a testament to the power of storytelling and the enduring appeal of the human spirit. Whether viewed as a thrilling action-adventure or a thought-provoking drama, "Gladiator" stands as a timeless masterpiece that deserves its place in the pantheon of great films.

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The ‘Gladiator II’ trailer is getting review bombed – here’s why

The trailer debuted last week

The recent trailer for Gladiator II has been review bombed by viewers for a number of reasons.

The first look at the sequel to the 2000 epic was unveiled last week, showcasing stars Paul Mescal , Pedro Pascal and Denzel Washington in action. However, the preview has received thousands of dislikes alongside its many likes, and there are a number of major reasons why.

According to comments, one reason for the backlash is the trailer seemingly giving many of the film’s key elements away.

Things start to veer into more problematic territory in regards to comments over the choice of music, notably the use of ‘No Church In The Wild’ by Jay Z and Kanye West , as some questioned the use of a rap song in a film about the Roman Empire. The song itself includes the lyrics: “ Tears on the mausoleum floor / Blood stains the Colosseum doors.”

Combined with some asking why Washington uses a New York accent in the film – even while most characters use the historically inaccurate British accent in a film set in Ancient Rome – and the actor’s inclusion altogether, things get quite toxic, with further comments being racist.

Gladiator II will see Ridley Scott return as director, and will focus on a grown-up Lucius (Mescal), the nephew of Joaquin Phoenix’s character Commodus in the first film.

Recommended

“Gladiator II continues the epic saga of power, intrigue, and vengeance set in Ancient Rome,” the synopsis reads. “Years after witnessing the death of the revered hero Maximus at the hands of his uncle, Lucius (Mescal) is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist.

“With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honour to return the glory of Rome to its people.”

The trailer includes a number of big battle sequences, including Mescal’s character fighting a rhinoceros as well as a sea battle.

Pascal recently opened up about filming the movie’s action sequences, admitting he would “rather be thrown from a building” than fight Mescal again.

Gladiator II  is due to release on November 22 globally.

• Related Topics
• Denzel Washington
• Gladiator II
• Paul Mescal
• Pedro Pascal
• Ridley Scott

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Home — Essay Samples — Entertainment — Movie Review — Historical Accuracy Of The Movie Gladiator

Historical Accuracy of The Movie Gladiator

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Film “Gladiator”: Technical Aspects and Approaches Essay (Movie Review)

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Gladiator: Classical Cinematography

This paper promotes the idea that the 2000 film Gladiator is illustrative of what the classical approach to film-editing is all about, and elaborates on some of the technical aspects of how the director went about ensuring the high emotional appeal of the featured themes and motifs.

One of the reasons why Ridley Scott’s 2000 historical drama-film Gladiator proved a huge commercial success is that the film’s editing style (classical) does correlate perfectly well with what appears to be the discursive significance of the featured plot. In my paper, I will explore the validity of this suggestion at length, while referring to the most notable indications of Gladiato r indeed being a classically edited movie.

The film’s plot is not particularly hard to follow. While sensing that he will soon die due to old age, the Roman Emperor Marcus Aurelius (Richard Harris) decides in favour of General Maximus (Russell Crowe), as his successor to the throne. After having found out about this, the Emperor’s son Commodus (Joaquin Phoenix) kills Marcus Aurelius and orders the execution of Maximus – hence, making sure that nothing would stand on his way of becoming the Emperor himself. Maximus, nevertheless, manages to escape. After having nearly died, while trying to reach Spain (where he was born), Maximus ends up being turned into a slave.

Consequentially, he is forced to fight for his life as a gladiator. Within the matter of short time, he gains fame as a fighter who could not be defeated, which in turn deserves him a privilege to be introduced to Commodus – much to the sheer horror of the latter. Knowing that Maximus is very popular with citizens, Commodus decides not to kill him on the spot, and to wait for a better time to do this. Nevertheless, after having suppressed the Maximus-led uprising in the film’s sub-sequential parts, Commodus chooses to face Maximus in the Coliseum personally, in order to win the respect of the crowd. This proves to be a huge mistake, on Commodus’s part – despite the impossible odds, Maximus does manage to take revenge on his archenemy by the mean of driving a dagger through his throat.

As it was implied in the Introduction, Gladiator represents the example of the classical editing technique’s successful deployment, because the manner, in which the director went about connecting the film’s scenes together, corresponds to the foremost convention of this particular editing-style, “Classical theory insists upon the primacy of the original. It is that which must be imitated, and the basic and fundamental elements must not be changed” (Sobchack, 2012, p. 123).

This defines the main principle of the classical editing-technique in cinematography, “To keep the action logical and continuous, there must be no confusing breaks in an edited sequence” (Giannetti, 2001, p. 136). In its turn, this helps to explain why despite the fact that there are many prolonged time-lapses to the story of Maximus striving to restore justice – the story’s cinematic representation appears spatially plausible. The reason for this is quite apparent – in Gladiator , the subsequent shots are logically interconnected with each other, which was made possible by the director’s deployment of the ‘cut to continuity’ editing technique. To exemplify the validity of this suggestion, we can refer to the shot of Commodus walking towards Marcus Aurelius:

/ (00.16.26),

followed by the ‘bridging shot’ of this character passing Maximus:

(00.16.27),

which in turn is being followed by the rear-view shot of Commodus hugging his father:

(00.16.29).

The mentioned sequence of shots helps viewers to perceive the on-screen action, as such that is being thoroughly consistent with their intuitive understanding of how the flow of time affects the surrounding reality.

Another common feature of just about all classically edited movies is that the affiliated directors strive to emphasise the emotional intensity of the plot’s unravelling. As Giannetti noted, “Classical cutting involves editing for dramatic intensity and emotional emphasis rather than for purely physical reasons” (2001, p. 138). This is the reason why illumination plays a crucial role in this type of films – as practice indicates; it can serve as the effective instrument of allowing directors to ensure the psychological plausibility of the on-screen action. A particularly illustrative example of the legitimacy of this suggestion is the close-up of Commodus’s face, in the scene where he talks to his sister Lucilla (Connie Nielsen) while sounding rather ominously:

(02.16.05).

As it can be seen in the above-provided screenshot, the left side of Commodus’s face is shaded. This is being done, in order to encourage viewers to regard Commodus, as someone whose actions are being primarily reflective of his ‘dark side’ – quite despite the character’s self-assumed posture of a ‘benefactor of Rome’. It is understood, of course, that this provides even more psychological three-dimensionality to the character in question – hence, helping viewers to have a better understanding of what kind of person he used to be.

There is another notable quality to Gladiator , which validates the suggestion that it is indeed a classically edited movie – the fact that many of the film’s mise-en-scenes are concerned with connoting the implicit messages of their own. Apparently, while working on this particular film, Scott never ceased being aware of probably the main ‘mise-en-scenic’ rule of the classical editing-style – the camera-angle of a particular shot has a great effect on the audience’s perception of the idea that this shot supposedly conveys. In this respect, we can mention the shot where (in the aftermath of the upraising’s failure) Maximus is shown chained to the walls in a crucifixion-like manner:

(02.31.28).

It is concerned with providing viewers with the ‘bird’s-eye’ view on Maximus, with the character being visually shifted towards the bottom of the frame. Apparently, one’s exposure to this shot is expected to prompt him or her to contemplate the sheer magnitude of this character’s demise – in full accordance with Giannetti’s suggestion that “The areas near the bottom of the frame tend to suggest meanings… (of) subservience, vulnerability, and powerlessness” (2001, p. 52). There is more to it – being clearly reminiscent of the motif of crucifixion; this shot naturally causes viewers to draw parallels between Maximus and Jesus, which in turn contributes even further towards strengthening the overall dramatic appeal of the discussed movie.

In light of what has been mentioned earlier, it will be fully appropriate to suggest that the popularity of Gladiator with the viewing audiences cannot be debated outside of what appears to be this film’s editing philosophy. Apparently, while directing the production of this movie, Scott remained perfectly aware that it is specifically the classical editing-format, which suits drama-films more than any other.

The reason for this is that the commercial successfulness of these films directly depends on the director’s ability to ensure that viewers regard the affiliated twists of the plot fully plausible – something that is being made possible by prompting the audience to establish the emotional relationship with the featured characters. The main prerequisite of the latter is the cinematic exposure of these characters, like the existentially complex individuals, whose way of addressing life-challenges is being reflective of their ‘multiple dimensionalities’, as human beings. In this respect, the director’s application of the ‘cuts to continuity’ comes in particularly handy, because it helps to preserve the spatial integrity of cinematic action.

The same can be said about the role of properly designed mise-en-scenes in the classically edited film – they make it possible for viewers never to cease being emotionally drawn to what they see on the screen. This, of course, increases the aesthetic pleasure that people derive from watching such a film. Thus, it will be thoroughly logical, on our part, to suggest that the reason why, despite having been invented at the beginning of the 20 th century, the methodology of classical film-editing continues to be widely used in modern films (such as Gladiator ), is that it is consistent with the unconscious workings of one’s psyche.

It appears that the provided line of argumentation, in defence of the suggestion that Gladiator epitomises the classical approach to editing in cinematography, is fully consistent with the paper’s initial thesis. After all, as was shown earlier, Scott’s film is closely affiliated with the specifically classical editing-paradigm. Given the film’s subject matter, this state of affairs is best regarded as being thoroughly justified – the very epic sounding of the movie in question established the objective preconditions for the director to choose in favour of the classical methodology of film-editing. The fact that, in the aftermath of its release in 2000, Gladiator began to be increasingly referred to in terms of a ‘cult-movie’, suggests that Scott’s choice, in this respect, was indeed justified.

Giannetti, L. (2001). Understanding movies . Upper Saddle River: Prentice Hall. Web.

Sobchack, T. (2012). Genre film: A classical experience. In B. Grant (Ed.), Film genre reader IV (pp. 121-133). Austin: University of Texas Press. Web.

Wick, D. (Producer) & Scott, R. (Director). (2000). Gladiator [Motion picture]. Unites States: Universal Pictures. Web.

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IvyPanda. (2020, June 23). Film "Gladiator": Technical Aspects and Approaches. https://ivypanda.com/essays/film-gladiator-technical-aspects-and-approaches/

"Film "Gladiator": Technical Aspects and Approaches." IvyPanda , 23 June 2020, ivypanda.com/essays/film-gladiator-technical-aspects-and-approaches/.

IvyPanda . (2020) 'Film "Gladiator": Technical Aspects and Approaches'. 23 June.

IvyPanda . 2020. "Film "Gladiator": Technical Aspects and Approaches." June 23, 2020. https://ivypanda.com/essays/film-gladiator-technical-aspects-and-approaches/.

1. IvyPanda . "Film "Gladiator": Technical Aspects and Approaches." June 23, 2020. https://ivypanda.com/essays/film-gladiator-technical-aspects-and-approaches/.

Bibliography

IvyPanda . "Film "Gladiator": Technical Aspects and Approaches." June 23, 2020. https://ivypanda.com/essays/film-gladiator-technical-aspects-and-approaches/.

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Move over, Barbie: A Polly Pocket movie is in the works. What we know

Lena Dunham is no longer attached to the upcoming live-action movie about Polly Pocket.

The "Girls" creator and star told The New Yorker in a new interview that she dropped out of writing, directing and producing the movie after realizing her version of the Polly Pocket story wouldn't connect with audiences in the same way director Greta Gerwig's "Barbie" did.

"I’m going to tell you something here that I haven’t told anyone: I’m not going to make the Polly Pocket movie," said Dunham. "I wrote a script, and I was working on it for three years. But I remember someone once said to me about Nancy Meyers: the thing that’s the most amazing about her is that the movie she makes or the movie she would be making with or without a studio, with or without notes— that somehow her taste manages to intersect perfectly with what the world wants."

"What a f------ gift that is. And Nora Ephron, too, who was such a mentor to me, but always said, ‘Go be weird. Don’t kowtow to anyone,'" she continued.

Dunham went on to cite Gerwig's "incredible feat" of making a blockbuster "Barbie" movie that was "literally candy" to "so many different kinds of people" while also being "perfectly and divinely Greta."

"And I just — I felt like, unless I can do it that way, I’m not going to do it. I don’t think I have that in me," said Dunham.

The “Polly Pocket” movie, which was first announced in June 2021, will feature “Emily in Paris” star Lily Collins as Polly Pocket, the other Mattel doll that stole kid s’ hearts with her fun-loving spirit and girl power.

The movie will tell the story of a young girl and a pocket-sized woman who form a friendship.

In July 2023, Robbie Brenner, the head of Mattel Films, told Variety that the script Dunham had written for the family-friendly comedy was a “great” one.

“First of all, they are two of my favorite ladies ever,” Brenner said of the Dunham-Collins team. “It’s been an amazing collaboration. Lena is so collaborative and rolls up her sleeves and really likes to roll around in notes and listen. She’s incredible."

"Lily is so smart and so specific and so productorial. It’s just been an incredible collaboration, so we are thrilled about it. Hopefully, we’ll be making that at some point in the future," she added.

Collins, who will also serve as one of the movie's producers, previously told Variety that she was excited to play Polly in the film. "As a child who was obsessed with Polly Pocket, this is a real dream come true and I can’t wait to bring these tiny toys to the big screen,” Collins said.

The Polly Pocket dolls, which were first licensed to Bluebird Toys in England, took the toy world by storm in the early 1980s. The micro-dolls, which were about an inch tall, were paired with tiny plastic cases that opened to form dollhouses and other fun accessories.

Later in the '80s, Mattel acquired Polly Pocket, making the dolls larger and more lifelike. The dolls have gone on to change size in various incarnations over the year.

Barbie and Polly Pocket are hardly the only Mattel toys with their sights set on the silver screen.

Mattel Films is also hoping to make live-action movies featuring Barney the dinosaur, American Girls dolls, the Masters of the Universe toy line and Hot Wheels, reported Variety.

Gina Vivinetto is a writer for TODAY.com.

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Madonna biopic in the works — again.

News broke in January 2023 that the film about the singer's life wasn't moving forward.

By Christy Piña

Christy Piña

Associate Editor

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Madonna ‘s biopic is back in the works, nearly a year and a half after news broke that it wasn’t moving forward.

The film about the singer’s life , which was set to chronicle her decades-long career, was originally set at Universal Pictures , but plans for it fell through in January 2023.

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Another glimpse at the script reads “rewrites by Madonna and ECW,” seemingly referring to Secretary writer Erin Cressida Wilson, who was brought onto the project after Diablo Cody had to step away from it. Amy Pascal was set to produce the movie originally.

“I Need A-lot of Bandz to make this………..OKAY,” she captioned the post. “(Story of my life.)”

View this post on Instagram A post shared by Madonna (@madonna)

When the project was shut down, a source told The Hollywood Reporter that development was always a struggle for the movie and that the many drafts of the scripts were always over 180 pages. There were conversations about splitting the movie in two or making it a miniseries, but that never panned out.

“You have 40 years of success, and it’s very hard to put that into one movie,” the source said at the time.

Madonna was set to direct the biopic. Julia Garner was the frontrunner to play the legendary artist, after a long audition process that saw many stars — including Florence Pugh, Odessa Young and Alexa Demie — vying for the lead role. The hopefuls participated in intense and sometimes 11-hour choreography sessions with Madonna’s choreographer and the artist herself.

At this time, it is unknown if Universal is still attached to the project.

THR reached out to Universal Pictures and reps for Madonna.

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‘Family Guy’ Writer Gary Janetti Talks Hating Flip Flops on Planes, His Love of ‘Below Deck’ and Why He Won’t See the ‘Starlight Express’ Revival

The essayist chronicles his travels in the new book "We Are Experiencing a Slight Delay"

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Gary Janetti really wants air travel attire to step it up.

The television veteran — he’s a longtime writer and producer of “Family Guy” and did the same on “Will & Grace,” “Vicious” and “The Prince” — chronicles his own travel in his new and third collection of essays, “We Are Experiencing a Slight Delay.”

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In the new book, Janetti recalls taking many cruises when he was a child because his father was a salesman for Cunard, hosting a charity event on the Orient Express to Venice with his celebrity stylist husband Brad Goreski , an unforgettable dinner with Maggie Smith in London and much more.

I talked to Janetti while he was – what else? — traveling to promote the book before vacationing in Italy.

You have a rule that no matter how long the trip is, you usually only bring a carry-on. You never check luggage.

I have one carry-on with me right now and I’m gone for three weeks. One carry-on and a backpack.

What kind of carry-on do you use?

It’s actually the one on the book cover. It’s an old Louis Vuitton bag from about 20 years ago. It’s soft and I know how to pack it. I can pack in about 15 minutes.

Did Brad get to read the book before it was off to the printers?

Nobody’s reading it. Even my editor didn’t read it until it was done. Brad didn’t read it until very recently. I don’t like to share things. I don’t want anybody else’s voice in my head. It allows me to be as honest and as direct as possible.

Does Brad ever ask you not to write about something?

Never, not once.

Is there something you will never write about?

When are you going to write a TV series that takes place on a cruise ship?

I did. I wrote a pilot many years ago about cruise ship entertainers called “The Big Splash.” It didn’t go anywhere.

Do you watch “Below Deck?”

We love “Below Deck.” I always identify with people working on the boat. I worked in the service industry for so many years so I’m always identifying with the crew – never a passenger. I identify with the crew and their struggles and dealing with the passengers.

In one essay you write about your first trip to London when you were enrolled in an acting program in college. On the first night, everyone went to see a production of “Richard III” but you opted for “Starlight Express.”

I was 19 and it was my first time traveling by myself. I was in England for the first time. Everyone was like, “We’re going to see Richard III,” and I was like, “I want to see this big splashy spectacle of a musical called ‘Starlight Express.’” But it was it was kind of not the experience that I should have been having that night.

Will you go see the new “Starlight Express” revival?

I’m not a fan, so I don’t anticipate it. But I did see Nicole Scherzinger in “Sunset Boulevard” in London and she was brilliant. I love Andrew Lloyd Weber but “Starlight Express” again? No.

Have you ventured into writing for Broadway?

I have not yet, but I would love to write the book to a musical. It’s something that I’ve always wanted to do.

I have to ask you to weigh in on Donald Trump once having a crush on Debra Messing while you were making “Will & Grace.”

[Laughs] I thought that was…odd. But I think I’ll leave it at that.

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