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Fan Reviews: Gladiator

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Love and Death in the Colosseum By Maximum Crowe What do you say about a film with enough buzz to shatter eardrums? The savvy folks at DreamWorks have made Gladiator the summer movie event, even overshadowing those blockbusters-in-waiting The Patriot and Mission Impossible 2. But for the first time since the big boat movie, all the hype proves futile. That's because Gladiator is so ambitious, so compelling, so thrilling, it will leave you speechless. Decades after Alien and Blade Runner, director Ridley Scott again proves he's a master at creating -- or in this case recreating -- vastly different worlds. Russell plays General Maximus, a farmer, husband and father who remains unwaveringly moral despite his fierceness on the battlefield. It's near the end of Rome's years-long campaign for dominance, and the leader of its war machine is eager to return home. But politics, not war, ultimately cancel his plans, as he's chosen by ailing Emperor Marcus Aurelius (Richard Harris) to lead Rome's transfer to a republic.

Maximus is like a son to the wise and weary emperor, and was once involved with the emperor's daughter, Lucilla (Connie Nielsen). Neither of these facts sits very well with the emperor's unscrupulous real son, Commodus (Joaquin Phoenix). Once Marcus Aurelius is out of the picture, Commodus strikes back at Maximus in the most heartbreaking way: Not only is the general ordered killed, but so is his wife and child.

Maximus ends up being sold into slavery and eventually works his way to Rome by becoming a badass gladiator. And then the real fight begins.

The awesome opening battle sequence, though not quite as bloody as early reports implied, is just an introduction to the brutality later in the film. But the movie's strength lies in its subtleties -- and yes, there are subtleties -- rather than the carnage on display in the Colosseum.

Those subtleties make Gladiator an epic art film. Strip away the grandiose fight scenes and the blood literally splattering across the screen, and you're left with the story of two very different men -- one motivated by love, the other motivated by a lack of it.

Granted, Russell is pure testosterone and adrenaline while kicking gladiator butt. No one's ever looked sexier while slicing and dicing his opponent.

But the most powerful scenes take place between son and father, slave and owner, the ex-lovers who still care but know they shouldn't. Family strife and political intrigue drive the story as much as Maximus' revenge tale does.

Even some of the film's visuals defy its violent theme. Consider the haunting opening image: Our hero's hand -- just his hand -- brushes across a wheat field during an imaginary journey home. Mix in the lush musical score by Hans Zimmer and vocals by "Insider" composer Lisa Gerrard, and the shot becomes both simple and complex, odd yet romantic.

The acting is near perfect across the board. There's no question it's Russell's movie, though Phoenix nearly steals it and Nielsen is both stunningly beautiful and talented. Richard Harris is superb, Ralf Moeller is fun to watch, and Djimon Hounsou offers a laid-back charm that makes the final shot of the film sweetly optimistic.

Because director Scott fails to drive home any point about violence or the nature of man, some will ask what's the point of the film. There's surely a message in there somewhere, right?

Who knows, who cares. It's bloody, it's emotional, it's a short two-and-a-half hours long! While speaking volumes and not saying a word, Gladiator kicks ass beyond all recognition.

Gladiator:

The long-awaited Ridley Scott epic, Gladiator, is a visual pleasure, an aural excitement and an emotional smorgasbord. The movie's star, Russell Crowe, who should have received the Oscar for Best Actor for his role in The Insider certainly earns one here, and in the opening scene alone, no less. Without uttering a sound, his facial expressions and incredible eyes speak volumes.

The subject matter of the film - gladiatorial combat and carnage - is harsh and gory. It is not a pleasant movie, despite the beauty of its leading man who shows a strong physical presence combined with an emotional tenderness that the audience yearns to share. Yet the cinematography is stunning, particularly during the scenes in which the hero dreams about his home and family. And the techniques used during the combat scenes tell us all enough about the horror of war and the gladiator's life without allowing us to become sickened.

Despite the sad plot -- the hero loses everything he holds dear -- Crowe as Maximus takes the moral high ground at every turn, convincing us by his own strength of character that there are things precious enough to be of greater worth than a single life. Although the character of Maximus is fictional, many of the events are historically accurate and the film as a whole vividly portrays Rome in 185 A.D.

Additionally, Joaquin Phoenix gives an outstanding performance as the psychotic Commodus, which should bring him a Supporting Actor nomination next year. Djimon Hounsou is superbly lovable as Juba, who befriends Maximus and manages to maintain a modicum of cheerfulness despite the horror of his surroundings, while a solid performance by Richard Harris gives us empathy with Marcus Aurelius, whose decision to name Maximus his heir is the source of the Gladiator's woe.

In his final performance, Oliver Reed is outstanding as Proximo, a kind of 2nd century Don King with less unruly hair, while Connie Nielsen is impressive as the regal, yet terrified, Lucilla.

But, as all his fans anticipated, the movie unquestionably belongs to Russell Crowe. He looks every inch a Roman general, solid and tough, morally and physically upright, and draws us into the character's emotional pain and unabated grief that leaves a gnawing sense of loss inside us. We feel we know this man, and mourn because we cannot help him. The power he brings to this portrayal is amazing, sending women's estrogen levels above boiling point, but appealing, too, to both the noble and bestial instincts of the average male.

Ultimately, the movie succeeds, because it more than lives up to its hype. It's not only good, it's magnificent in both form and substance, skilfully crafted, perfectly acted. Add in a haunting, enigmatic soundtrack and you have the film of the year and, at last, for any who still doubt, proof that Russell Crowe is, indisputably, the finest actor of his generation. (by Albany Rose)
(Photo thanks to Britta)

SPANIARD

The days are passing; it's been so long, me amor.
I miss your long embrace and warm kisses--I need more.
My heart longs for your closeness and your treasured glances
saying more than words could express during moonlit dances.

During the long days, we play in the fields, he has your eyes.
He's full of energy--asking for Papa stories--running with ponies.
Remember--he thinks he is one of them, running wild and free.
He treasures the tiny clay pony you gave him when you left--left me.

I pray morning and night for your safe return, me amor.
Closing my eyes, caressing my little clay figure; I close my door.
My tears flood the night, Dreams of you end all to soon. I'm alone.
Me amor, is there time in a soldier's day for thoughts of home?

A general of Rome, commander of battles, living with death,
I can't imagine my tender, loving dearest forcing one's last breath!
A warrior you are, loyal subject of the Emperor, Defender of Rome,
I miss you dearest Maximus.............................please come home.

Someday you WILL return to me, the gods have determined our fate.
I'll wait for you in the golden fields beyond the old wooden gate.
The sun will shine eternally, our son will laugh, the ponies wildly run.
We will be together through eternity in the golden fields of Elysium.
(By Rayda Santrach)

(Photo: thanks to Britta)

Gladiator:

Gladiator movies are not high on my list. But Russell Crowe is, and for good reason. He delivers. And what does he deliver? Integrity, intimacy, and most of all, emotional truth.

Sitting there in the darkened theater, uncertain as to what level of violence was soon to assault me, it wasn't until the moment that the great Richard Harris opened his arms (and heart) to embrace his son Commodus that I knew this was a film I could trust.

Beautifully matched with the talented Joaquin Phoenix, who more than held his own against the formidable Crowe, I found Crowe's performance as Maximus one of gravity, sensitivity, and a dignity of character not often found in films today. The relationship between Maximus and Lucilla was both balanced and believable, and as much as I would have liked to see some steamy loves scenes with Crowe, the lack of one in Gladiator actually enhanced the film's credibility. There was a naturalness and ease also in the relationship between Maximus and the attractive Djimon Hounsou.

Ridley Scott's exciting direction was flawless (as usual) and the action sequences while violent (it is a Gladiator film after all) were imaginative, visual, and expertly choreographed. The addition of tigers was brilliant, as they aren't acting like everyone else is. The strong combination of all of the above plus stunning sets, beautiful cinematography, and powerful, yet haunting music brought this film home to it's much deserved success.

I've seen Russell Crowe in only three films: LA Confidential, The Insider, and now Gladiator. I am astounded by the raw power of his performances, and sense that underneath that raw power there is a fine thread that connects everything that Crowe does, and that thread is his heart. And it's a big one. (by Kathleen Lynch)

Since May 8th I have sat spellbound in a movie theater on five occasions to see a movie which only gets better with each viewing. The movie--Gladiator. Although some may think I'm going overboard to say so, after over thirty years of going to movies, I can truly say this is the best movie I have ever seen and, from the comments I've heard from friends, I'm not alone in thinking and saying so.

Yes, there's blood and gore, but unlike Braveheart, the violence is not gratuitous. In fact, much of its is almost artistic and somewhat stylized. You're aware of it when the blood splashes across the screen, but it doesn't command your attention. The only times I turned my head to hide were when the novice gladiator is brained in the first gladiator scene and when the charioteer is literally cut in half in the re-enactment of the second fall of Carthage. More important though are the characters, all of the major ones being shown as complex persons, even the villain Commodus. The major kudos though go to Russell Crowe who manages to believably portray his complex character's many sides ---from the warrior and family man to the lover and man of principle. Good looks certainly don't hurt either. Joaquin Phoenix runs a close second, but it's Russell Crowe's movie and he should be proud of it.

See this movie at least once -- I don't think you'll forget it. (by Deborah L. Morgan)

Gladiator: 'Empty sensation'

As much as I want Russell Crowe to star in a blockbuster and get the recognition he deserves, I would have preferred he passed on this empty sensation. Gladiator is simply the emperor with no clothes. The film is entertaining due to the glorious photography and suspenseful scenes of clashing gladiators. These factors should be enough to put the film over the top. But for those who care about storylines, the plot is dull and predictable. In comparison, Braveheart was able to deliver the suspense of war in addition to the passion and hunger of a noble fight. Gladiator did not develop its characters or the plot sufficiently to feel the struggle and desperation that makes the victory so edifying. And Russell is simply not the grunt and sandals kind of actor. He was left posing and grimacing most of the time rather than displaying his deeper acting talents. Superficial action pictures should be reserved for Hollywood beefcake. Russell's very able shoulders were made to carry more challenging films. (PonEgirl)

Ridley Scott has once again proved himself the man that has the incredible talent to work on projects of a phenomenal scale and not be overawed by the entire experience.

Russell Crowe has added yet another dimension to any character that he may be called upon to work on in the future. From deranged computer programs to overweight whistle blowers, who would have guessed that Russell Crowe would be the very next person to play a gladiator in a genre of films that was thought dead. Yet this was the man to choose.

Every fight sequence is perfectly executed, with stunning brashness that most people would be frightened of, lethal weaponry and superb costumes that only add to the delight. Even the gore, which has gotten the attention of most of the newspapers, never seemed out of place or over the top, and you must remember this is all set in a time where life was completely different.

Ok, so the script was nothing special, just bare boned to what was needed, and besides who needs words when you have a man like Russell Crowe who can so easily display the required emotion. Go and see this film or regret it for eternity. (by Sam B.)

Being Maximus Decimus Meridius

I had an interesting experience this past weekend. I saw, on the same day, two very different movies about what it means to be a man, about masculinity, and about self-identity. The first was ãGladiatorä; the other was ãBeing John Malkovich.ä As a woman, if I were going to be a man, I sure wouldn't pick John Malkovich! No, Iâd definitely be looking for that portal into Russell Crowe.

Actually, if I were going to be a man, I would want to be Maximus Decimus Meridius. He is the ultimate in physical prowess, strength, cunning, and leadership. Heâs George Washington and George Patton on steroids. More importantly, Maximus embodies a slew of classical masculine virtues: He is courageous, he is loyal, he is honorable, he is pious. Who would choose to be John Malkovich over a man whose motto is ãstrength and honorä and who can muster a group of outnumbered slaves into a victorious fighting force in the middle of the Roman Colosseum?

Some viewers might protest that Maximus is a killer who dispatches his victims with cold efficiency. Maximus has two choices: kill or die. The fact that he kills with apparent ruthlessness masks a seething, subterranean anger at being thrust into this vile situation through no fault of his own. His own death would only serve to seal the evil emperorâs victory and control over Rome, so there would be no nobility in laying down his life. The only noble choice for Maximus is to stay alive and destroy Commodus, and staying alive for Maximus means death for other men.

Maximusâ strength shows through in another way as well. As he struggles with the dying Caesar's wish that he take the reins of power, Maximus retreats to his tent to pray. He asks his gods to give him wisdom and show him the right course. His piety is no sign of weakness but a recognition that he is humbled before a power greater than himself. All genuinely strong and courageous men understand the limits of their own power. The generalâs bended knee is an outward sign of his inward strength.

ãWhat we do in life echoes in eternity.ä Maximus lives this motto because he believes his actions have consequences not only for today and tomorrow but for an eternity we no longer believe in. So, if Iâm going to come back in my next life, I want to be a man like Maximus not because itâs fun or easy or titillating. I want to know what it is like to live by the rules of eternity and not by the schemes of expediency. (by unicorn)

Gladiator:

There is a brilliant portrayal of the unresolved psychological issues played out by the "father" and the "son." To explain ... Marcus, according to history, was orphaned as a boy, "adopted" by Hadrian (supposedly a pedophile) and chosen to become Emperor over the "rightful" heir. In Gladiator, the playwright gives us Marcus ... who "adopts" and intends to promote Maximus to Emperor and thus spurning his own son ... a son who has somehow learned nothing from his Stoic and Heroic father. A sociopathic son who yearns inappropriately for his sister ... if, in fact, she is his full sister. History suggests Commodus was possibly fathered by someone other than Marcus. Oh my, what tangled webs we weave and grieve. Marvelous film for these reasons and more. I can hardly imagine in this day DreamWorks risking creating a true hero fighting for real freedom and portraying the consequences of "bread and circuses." Will our baggy pants young men adopt this model? I hope so ... for their sake and the sake of our globe. (by Merrily Manthey)

Is this the movie that will make Russell Crowe a mega-star? It may be. I fully expect to see a Gladiator videogame and who can wait for the Maximus action figure? Nevertheless I felt the director failed to make use of Crowe's considerable power as an actor. Gladiator confirms that Crowe can play "big." I had no trouble believing that he would be victorious in battle or in the Colosseum or that men would follow him willingly to their deaths. But the surprise in Crowe, for me, is always the subtlety and delicacy of his acting. The small gestures and restraint that he uses to create layered, complicated portraits of often difficult to like men. Maximus is easy to like and admire and in a few scenes, we see Crowe flex his "Oscar-muscles." But I kept wishing that Scott had given him more to do. Not more head-chopping God knows. (by Karen in Washington, DC)

I had high expectations and they were met, but what I didn't expect was to burst into tears in a movie theatre at the hands of such fine acting and character development on the parts of Crowe and Phoenix and indeed, the entire cast. (Even the man sitting right in front of me burst into tears, and as for the opening scene, had I seen the real Roman Armies up close, I would have died horrifically mesmerized.) Their fine performances along with Scott's vision of this screenplay brought to life Rome as it has never been seen on screen before, and made it more human. I say "Bravo!" and stand ready for an encore (no matter the time period!). (by Gabriella)

Gladiator: The Music

I'll be playing this whenever I have to get ready to give a new presentation at work: There's a very uplifting theme woven in that seems to be Maximus' Theme. If you like Holst: The Planets "Mars, the Bringer of War," which the composers borrowed heavily from, and Peter Gabriel's Passion from "The Last Temptation of Christ" (Middle-Eastern singing in for flavor), you'll like this music. It swells in some places, but it's a lot more subdued than you'd expect. Have it with your pasta and Merlot. (by Angie G.)

Gladiator:

"Ridley Scott was at the screening last night along with a number of Hollywood executives. Director Steven Spielberg was escorted into the theater when the lights went dark. My guess is that Spielberg was there not only to view the film, but also to consult Ridley Scott on the violent content of the film. Spielberg himself had great difficulty getting an R rating for his film 'Saving Private Ryan.' Scott may face similar problems as for 'Gladiator' in it's current state, will easily earn itself an NC-17 rating in the United States. Hopefully, the film will be left untouched, for it's attention to historical detail is excellent and never has there been a better depiction on screen of the brutality of the Roman Empire. When the film's villain, Commodus (Joaquin Phoenix) meets his end at Maximus' (Russell Crowe) hands, the theater audience cheered! Also, Hans Zimmer (The Thin Red Line, The Lion King) who will be doing the musical score for the film was present at last night's screening." (By John Marzo)

John also tells us the film had "great art direction, beautiful cinematography, realistic ( but very gory) action sequences and great performances by all of the players".

He points to some weaknesses:

"Underdeveloped characters. Russell Crowe could have easily been replaced by Arnold Schwarzenegger. Although Crowe is a fine actor, he really doesnât have much to work with here. His character at times is very shallow and he does not come across as a victorious Roman General".

Overall he was "somewhat disappointed with the picture, probably because I was expecting more of an epic. Something right out of Colleen McCulloughâs Master of Rome book series. The film will no doubt do very well with a title like ãGladiatorä, Ridley Scottâs reputation as a commercial filmmaker and the gratuitous blood and gore that is often splattered across the screen. (Thanks John!)