Morocco, USA
William Nicholson
Audience Score - 1239149 Vote
2000
actor - Russell Crowe

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Film by Scott [2000] Gladiator, American historical epic film, released in 2000, that was directed by Ridley Scott and starred Russell Crowe. It won critical accolades, large audiences, and five Academy Awards. Russell Crowe in Gladiator (2000). ™ and © 1999 Universal Studios and Dreamworks LLC; photo, Jaap Buitendijk Britannica Quiz Character Analysis When did James T. Kirk graduate from Starfleet Academy? Gladiator takes place in ad 180 and is loosely based on historical figures. Roman forces, led by the general Maximus (Crowe), defeat Germanic tribes, bringing temporary peace to the Roman Empire. The emperor, Marcus Aurelius (played by Richard Harris), tells Maximus that he would like Maximus to succeed him upon his death and for Maximus to return power to the Senate, restoring the Roman Republic. However, when Marcus Aurelius tells his arrogant and unstable son Commodus ( Joaquin Phoenix) about the plan, Commodus flies into a rage and kills his father. Commodus becomes emperor and orders the death of Maximus and his family. Maximus escapes and rushes to his home in Spain, only to find his wife and son already dead and his house burned down. Maximus is then taken by a slave trader to North Africa, where he is sold to the gladiator trainer Proximo ( Oliver Reed). Proximo and his troupe know Maximus only as the Spaniard, and he soon becomes a top gladiator under that name. When Commodus decides to stage a gladiatorial spectacle in Rome, Proximo brings his gladiators to participate. In the first fight, intended as a battle reenactment, Maximus rallies the other gladiators and leads them to victory, to the delight of the crowd. He defeats the Roman champion in one-on-one combat and then reveals himself as Maximus. Commodus’s sister, Lucilla (Connie Nielson), and the senator Gracchus ( Derek Jacobi) agree to help Maximus escape to gather his army and depose Commodus, but Commodus discovers the plot. When Maximus attempts to make his escape, Roman praetorians kill Proximo and the other gladiators assisting him and recapture Maximus. Commodus declares that he will meet Maximus in single combat in the arena, but he first stabs Maximus to weaken him. In the arena, Maximus kills Commodus and then dies himself after ordering the reinstatement of Senator Gracchus and the restoration of republican rule. © Dreamworks Pictures/PRNewsFoto/AP Images The film, perhaps the first sword-and-sandals epic since the mid-1960s, revived an interest in making films about ancient history. Crowe gained a reputation for being difficult to work with during the making of the film but won plaudits and an Oscar for his performance. The unexpected death of actor Oliver Reed during the production of the movie necessitated both digital manipulation and drastic reworking of the script. Production notes and credits Director: Ridley Scott Music: Lisa Gerrard and Hans Zimmer Cast Russell Crowe (Maximus) Joaquin Phoenix (Commodus) Connie Nielsen (Lucilla) Oliver Reed (Proximo) Richard Harris (Marcus Aurelius) Derek Jacobi (Gracchus) Academy Award nominations (* denotes win) Picture* Lead actor* (Russell Crowe) Supporting actor (Joaquin Phoenix) Art direction Cinematography Costume design* Directing Editing Music Sound* Visual effects* Writing Patricia Bauer.

Gladiators.

Ridley Scott’s summer spectacle, which turns 20 this month, was lifted into prestige with a surprise Oscar haul, something that’s tainted its legacy Russell Crowe in Gladiator. Photograph: Allstar/Dreamworks/Sportsphoto Ltd/Allstar W hen Gladiator was released in early May 2000, there wasn’t much of an inkling that it would go on to win the Oscar for best picture, for the obvious reason that it was positioned as the first of the summer blockbusters, promoted less for its historical gravitas than its bloody combat in a digitally enhanced Colosseum. In retrospect, it shouldn’t have been a surprise that two and a half hours of speeches, montages and decadent pageantry would fit into a broadcast that’s an hour longer and slightly less violent. But the best picture designation has been an odd stain on Gladiator’s reputation over the years: a film that might have been remembered as a satisfying revenge spectacle instead looks like a second-rate prestige picture. Twenty years later, perhaps it’s time to take Gladiator back to its original framing, not as the spoiler to Steven Soderbergh’s unlikely coronation as a Hollywood director – his Erin Brockovich and Traffic were best picture nominees, and he won best director for the latter – but as a classed-up underdog sports movie, like a middle-period Rocky sequel in sandals and tunics. The palace intrigue that follows the death of the Roman emperor Marcus Aurelius may give the film a certain amount of sophistication, as do the performances by Russell Crowe, Joaquin Phoenix and Connie Nielsen, who all make excellent and multi-layered contributions. Yet this is essentially about an undersized warrior gutting his way to a title bout – all else seems like window-dressing by comparison. The competitive arc of Gladiator is Rocky III leading into Rocky IV. It’s about our hero first belting his way through a colorful array of opponents – barrel-chested goons, armor-plated archers on chariots, man-eating tigers emerging from the arena floor – before finally battling the villain on hostile turf and turning the home crowd to his favor, against the will of a brutal authoritarian government. Again, this is not a mark against the film, because it’s mostly rousing on these terms, boosted by a Roman succession plot that plays one man’s epic revenge quest to the highest of stakes. But the argument that the film is any deeper than the red-meat savagery it delivers doesn’t hold up under scrutiny. It’s a terrific summer movie, and one of the new century’s least deserving best picture winners. Joaquin Phoenix, Connie Nielsen, Djimon Hounsou and Russell Crowe at the Gladiator premiere. Photograph: Fred Prouser/Reuters For director Ridley Scott, it started a run of enervating historical action-dramas that included Kingdom of Heaven, Robin Hood and Exodus: Gods and Kings, none of which had the same propulsive kick. The benefit of Crowe’s Oscar-winning lead performance – and a script (by David Franzoni, John Logan and William Nicholson) that was geared around it – is that he makes it impossible to get lost in the hectic atmosphere Scott conjures here from hundreds of extras, digital landscapes and assorted period bric-a-brac. There’s a lot to draw the eye away from the central action in Scott’s films – Orlando Bloom, for example, doesn’t have the presence to draw focus in Kingdom of Heaven – but Crowe’s General Maximus Decimus Meridius has a simple and well-defined mission, and the actor plays it as righteous as a sword plunged straight to the hilt. Contrasting the scorched earth of Germania, where Maximus leads his men in one final push against the barbarians (“At my signal, unleash hell! ”), with the golden fields of home, where his wife and son await after his years away, Gladiator begins with a patriot’s humble request. In exchange for his service to the empire, he wants a little time off – those fields ain’t gonna harvest themselves, you know? But he gets caught up in circumstances beyond his control: the dying Marcus Aurelius (Richard Harris) wants him as a placeholder to boost the senate and lead Rome toward democratic rule. But that means passing over his vile, sadistic failson, Commodus (Phoenix), who craves the unfettered power of an emperor and unnaturally shortens his father’s life to get it. Commodus condemns Maximus to a quiet execution in the forest, orders his family murdered and sets about engineering the dissolution of the senate and a comprehensive quashing of dissent. Connie Nielsen and Joaquin Phoenix in Gladiator. Photograph: Allstar/Dreamworks When Maximus is picked up by slavers in Zucchabar, a Roman city that would now be in Algeria, and he’s forced to battle to the death alongside other gladiators – first in local events and later in the Colosseum, where he becomes a sensation. The fun irony is that the feckless Commodus has brought the gladiators to Rome as a bread-and-circuses initiative to distract the great unwashed while he seizes total authority over the empire. Now with Maximus besting all comers in front of lusty boobirds turned super-fans, chanting his name like the Soviets rooting for Rocky, Commodus’s hold on the throne is becoming more tenuous. Phoenix is a wonderfully hissable villain as Commodus, a legacy brat who understands his own absence of nobility and honor as liberating qualities – like any good tyrant, he sees a clean conscience as a terrible obstacle to his ambition. But most of the behind-the-scenes complexity comes courtesy of Nielsen as Lucilla, Commodus’s sister and Maximus’s former lover, who acts with political expediency in order to survive, but asserts herself firmly in the shadows. Lucilla is a glimpse into what Gladiator might have been if its priorities were directed more toward the machinations of government rather than the machinations of separating a man’s limbs or head from the rest of his body. The action sequences in Gladiator dance right on the edge of coherence, which may have something to do with the difficulty of matching live-action with digital backdrops, but mostly falls in line with popular action directors like Michael Bay or Scott’s brother, Tony, who were favoring movement and viscera over the nuts-and-bolts of clear blocking. When Maximus is battling an undefeated chest-thumping hulk twice his size named Tigris and actual tigers appear in support, it becomes obvious that we’re being treated to a bread-and-circuses gorefest along with the Roman commoners. And once you come to that realization, Gladiator no longer seems like a bid for respectability. It had respectability imposed on it.

This movie was definitely entertaining. it was engaging, it had my full attention, and it was a visual, sometimes. but what is going on here? why does everyone love it exactly? i saw the film at one of the most beautiful theatres, the Cinerama Dome on Sunset Blvd., which added to it a lot. but if i sat up front, i would have ran out of their screaming. people complain about the Blair Witch project? i didn't know what was going on half the time. this was me at about 5 points during the film: what? he got hit? yeah he did... but... he who? WHERE. br> the recreation of Rome is fantastic, and those shots are excellent, as are the effects and art direction. the fights are fun in all their gore, with the exception of the chaotic camera movements. and certain shots, for example of the fields when Maximus's hands are brushing against the tall grass. beautiful. but not enough to get the praise it's been receiving.
and character development? hello? Lucilla, you should have been a son." oh really? Lucilla is a strong woman this, and a forceful soul that." how so? i couldn't tell. and bratty Commodus, played by an excellent Joaquin Phoenix, just was not fully explained in his insanity. Russell Crowe is great (as always) as the vengeful Maximus, but even with his character something seemed lacking. and way to go with the subtle ending. (no, that was not sarcasm.
overall the movie entertained me, but i walked out confused (as to whether i liked it or not. and when i walk out of movies confused i wait for the next day... and the next day i was not satisfied. some great shots and color, cool costumes, Crowe finally confirming himself as a star, Phoenix confirming himself as an actor, and Nielsen confirming herself as a hottie who can act. it'll do. but it would have been better off had it been done by someone other than ridley scott. (gosh... he better not butcher Hannibal. it deserves no spot on the IMDb's top 250 much less the top 100.

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