A film review by Mark O'Hara Copyright © 2000 Mark O'Hara

Russell Crowe appeared in LA CONFIDENTIAL and THE INSIDER, which were among the very best films of 1997 and 1999. His anchor role in this year’s GLADIATOR seals the film’s place as one of the best released in the first half of 2000.

What’s so good about this guy’s acting? Perhaps that he’s rather unassuming; Crowe often seems to play the role of the general-turned-slave Maximus without effort. He’s the opposite of a showoff or a ham or an over-actor. And as anyone from Laurence Olivier to John Wayne knew, understatement is best. In his mid-thirties, slimmed down from his role as Jeffrey Wigand in THE INSIDER, Crowe inhabits his character with the proper authority and confidence. Maximus is tough, muscular, and not afraid to fight hand-to-hand and risk dying with his men.

The film starts by chronicling the northern armies of Rome in a battle against a Germanic horde in 180 A.D. In the scenes of preparation through the battle itself, the film engages us with the most striking battle footage since the first half hour of Speilberg’s SAVING PRIVATE RYAN. Ancient Rome surely sustained massive war machines, and director Ridley Scott simulates them very well here. There are the archers shooting flaming arrows; there are the precursors to artillery, huge incendiary bombs launched from catapults, the charges exploding on impact with the trees sheltering the enemy. Finally, there’s the combat itself, the armored legions marching against the whooping middle European natives. It does not make the best statements about imperialism or empire-building, but the material here does grip and hold our attention. And it’s all the more interesting because of the hand-held cameras, the choppy film speed and the wonderful graininess. Even when you have full color at your disposal, you don’t need to use it, Scott is telling us wisely.

So Maximus is victorious, and he is complimented by the emperor himself, Marcus Aurelius (Richard Harris). It’s not long before this Caesar asks his best general what he wants; Maximus replies he wants to return to his wife and son, and their farm, outside of Rome. Of course the complication is that the emperor, who loves Maximus as a son, offers him a form of power of succession. Maximus would not be a dictator, which Marcus and previous Caesars have been; instead, he would serve as a sort of sergeant-at-arms for the Roman Empire, the administration and actual power returning to the Senate. Rome would once again be the republic it was at its founding.

More intrigue surfaces when the emperor’s real son and daughter enter. We first see them ushered to the battle – after the death-dealing is done – in a luxurious coach. Joaquin Phoenix plays Commodus, who believes he will be the next dictator. His sister Lucilla is played by Connie Nielson; this character is supposed to be the smarter of the two, the more politically canny and the wiser. She had also apparently been involved with Maximus before his marriage to another.

It’s clear that GLADIATOR will take the path of a revenge story, and the cause for revenge unfolds quickly. Commodus makes sure his father’s wishes are never formally broadcast, and commits a heinous combination of crimes: patricide and regicide! Refusing to pledge loyalty to the heir, Maximus is sent off to be executed. Experienced fighter that he is, he survives, foreshadowing the fighting he must do later – always against enemies of greater numbers and armament.

The main motivator for vengeance? The ambitious and ruthless Commodus has Maxmimus’ wife and son slaughtered -- terrorized and crucified. By this time, of course, it’s the audience’s desire to see Commodus get his just deserts. This predictability is one of the film’s few flaws.

As the childish, hateful young emperor, Joaquin Phoenix is miscast. He is despicable, yes, but he also seems to have to put the most effort into his role. Phoenix delivers the least naturalistic, the least transparent, performance among the major players.

Connie Nielson as Lucilla is fascinating: her character is perhaps the most complex in the film. Where her loyalties lie is unclear for much of the narrative. In one memorable scene, she tries to use her history and physical wiles with Maximus to get him to reveal her father’s wishes. Nielson also plays a loving mother well. Her son Lucius is apparently the male heir after Commodus. She is extremely cautious around her brother, particularly in a scene in which Commodus watches the sleeping boy closely. Fortunately, Scott and screenwriters David Franzoni, John Logan and William Nicholson only imply Commodus’ sexual perversion; there are no scenes involving sex. Commodus’ incestuous tendencies are shown more clearly with his sister.

Oliver Reed does a nice turn as the slave trader and gladiator trainer Proximo. Reed died not long after finishing the film. His character is deeply conflicted; he doesn’t know whether to assist the man he has discovered is a general, or to make all the pieces of gold he can. Reed is perfect for this role, the sinews on his thick neck standing out with age, the cadences of his British accent mixing well with the accent assumed by Crowe.

Another strong supporting actor is Derek Jacobi as Senator Gracchus. He looks a little too gentle and wise to be involved with such dark politics; nevertheless, Jacobi’s manner gets us quickly aligned with his cause, which is the same cause Maximus is willing to die for.

Djimon Hounsou is nicely cast as a captured slave, one who offers kindness to the wounded general – or the “Spaniard,” as Maximus is known among the gladiators he trains and fights among. Hounsou shades his portrayal with a natural friendliness.

Special effects are stunning in GLADIATOR. We view them mainly in the scenes showing ancient Rome, the immense and pillared structure, the impressive statuary, the painstakingly recreated Old World flavor of a living city. Recent speculation about the Coliseum, for instance, has made it into this film: historians believe long poles depended from the top, and from these poles hung sail-like awning, the closest thing to a retractable partial-roof of its time. Wonderful details confront us: it would take more than one viewing to notice everything. The only reservation I have about large scale backgrounds like the ones here is that they sometimes appear ultra-real, almost plastic – too-clear video images in a feature film. It’s better they’re here, though.

Other special effects are employed in sequences that simulate dreams. The initial image starting the film shows a warrior’s hand skimming the tops of wheat stalks, and later we see definite imagery of death as Maximus dreams of meeting his son and wife in the Elysian fields. We even notice some early Christian references. Although the gods are mentioned, we hear Maximus praying to "Blessed Mother” and “Father.” And he meditates with small statues of his wife and child. It’s easy to see how Christianity was developing at the time this story takes place; Scott is to be commended for showing the spirituality of some of his main characters.

Music by Lisa Gerrard (from the group Dead Can Dance) and well-known Hollywood score master Hans Zimmer is smooth and haunting. Gerrard's voice sounds like it's from the Middle East, assisted by ancient instruments. The CD would be a good investment.

The film is rated R for graphic violence. I counted only one vile word, which could find its way into PG-13 rated fare. GLADIATOR would be fine for those 15 and up. The violent scenes are not tame, but neither are they done in a way that glorifies violence.

	Running Time: 154 Min | Rated: R | US Release: May 5th | More >>

Related Links:

• Official Site
• Maximum Russell Crowe
• Upcomingmovies.com: Gladiator
• DreamWorks SKG Fansite-Gladiator

A hero will rise.