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Gladiator (2000)

Rating: 9 out of 10

Ridley’s Back, Baby!

There’s no doubt that Ridley Scott is one of the great masters of the cinematic art, but not since Blade Runner (1982) and Alien (1979) has he created a world so engulfing that it remains with you after you’ve left the cinema. That is, until now.

The incredible epic that is Gladiator is sure to further highlight the stardom of all involved. Scott’s detailed direction teeters delicately between tenderness and ruthlessness, reflecting the turbulent psychological state of its protagonist. Crowe does a brilliant job of sculpting a character who is heroic and anti-heroic in the same sentence; his eyes holding key to Maximus’ guarded emotions. Joaquin Phoenix, too, puts forth a spellbinding performance as the insecure and merciless Caesar Commodus.

While Hollywood is adept at creating so-called ‘event’ movies, the stylish grandeur present within this film’s riveting 2 ½ hours really gives substance to the phrase. Packed to the brim with action set pieces that would have the WWF steaming with jealousy, and loaded with meticulously created sweeping shots that take in everything from large-scale battles to the romantic European countryside through to a recreated Colosseum that has to be seen to be believed, Gladiator is a gargantuan epic. And where the battle that opened the film, featuring a mighty army led to victory at the command of an intelligent military leader played by an Aussie, felt as though this could be riding on the back of Braveheart, the film quickly progressed to establish itself in a league of its own.

Perhaps the most notable, and most appreciated, aspect of the release print is that Scott and his band of writers do not waste a minute of screentime. Instead of poring over the nitty-gritty details that adorn many epics, Gladiator moves along at a consistent pace, supporting the protagonist’s drive to see his vengeance fulfilled. Okay, I know, we’ve all seen hundreds of single-minded, vengeance-driven films before, but rarely does one appear so richly injected with the type of magical substance that holds your attention (and thought) throughout. Carved wooden figures, a few surrealistic dream sequences and the recurring symbolism of Maximus’ rural homeland indicate the character’s deep love for his land and his family, filling in the void that would remain if no background elements were introduced at all.

This, coupled with Crowe’s commanding charisma and a morality-based political battle enables the audience to feel for Maximus, and to support his quest – regardless of how Machiavellian his method appears.
Another highlight of the crew’s craftsmanship is in the its seamless integration of CGI elements with real-life footage. I’ve mentioned the most amazing of these already – that being the recreated Colosseum – though a number of sets, skylines and battle elements were also enhanced or created digitally. An impressive effect, albeit the film’s most tragic, is the compositing of Oliver Reed’s face over that of a body double’s during many sequences. As the final credits suggest, this was completed because Mr. Reed sadly passed away during the creation of the film – especially unfortunate as he was not able to witness how awesome his final film would be.

When all’s said and done, Gladiator proves that Hollywood can still create blockbusters that actually are great films. It also marks Ridley Scott’s long-awaited return to form, and Crowe’s leap to marquee superstar (and an undoubted Oscar nomination).

Gladiator succeeds where last year’s Joan of Arc failed – in making its audience feel something, and I’m sure the film’s effect will be felt for quite some time.

Review written by Joshua Smith, 4th May, 2000.

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