Directed by Ridley Scott
Majestic and psychological, Gladiator marks the return of a director and a genre to the big screen. While Ridley Scott (Blade Runner, Duelists, Alien) fell into oblivion after more than risky choices (GI Jane, White Squall), and given that the "toga and sandal movie" had become nothing more than the object of amusing kitsch, this time he succeeds with a tour de force. By breathing new life to a deposed genre, he is able to revive the flame of his fiery debut and at the same time create a new movie hero onscreen: a gladiator, and in the flesh: Russell Crowe.
Above all, Gladiator is proof. The film shows that Hollywood can still produce quality films if given the means. In effect, the film that benefits from a colossal budget is of course spectacular and luxurious, but all the same privileged with the psychology of its characters. To give depth to the characters, Scott called for a solid cast with the presence of talented actors, a rare occurrence for a big budget film. Finally, a cinematagraphy rich with artisitc touches does more than gove life to the film; it brings an unexpected aesthetic dimension.
Russell Crowe incarnates a glorious roman general chosen by the dying emperor to succede him. The emperor's son (Joaquin Phoenix) covets the throne, and after getting rid of his father he tries to eliminate his troublesome rival who flees.Maximus falls into the hands of slave merchants and becomes a slave whose only goal is the avenge himself against the emperor responsible for the assassination of his wife and son.
While the script is fairly simple, Scott revisits the "toga and sandle" genre by making direct allusions to the films that marked the era. The film is based largely on Stanley Kubrick's Spartacus as well as Conan the Barbarian. In the image of Spartacus, Maximus uses his hero's stature to rally the gladiators and rebel against the the power in place. Just like Conan, Maximus becomes a slave and gladiator whose only goal is to avenge the assassination of his family. And in the theme of vengeance, motor of the spaghetti western genre, there is also a clear reference to the final duel between Maximus and Commodus as we hear the music take Morriconian accents.
Gladiator is above all a grand spectacle. Thanks to a noteworthy budget, the film is able to reflect the splendors of the epoch through decoration, scenery, costumes, and a pushed attention to detail. The filmaker gratifies us with bloody and grandiose fight scenes with a grand sense of movement and an explosif rage exposing the savage side of said "civilized" society. Yet Ridley Scott does not content himself with just projecting an image of the era. He brings another supplementary dimension with arty cinematography and metaphors. The opening scene of the battle is visually electrifying. The use of ash colored filters contrasting with the lively red of blood as well as an epileptic montage creates an impression of unequal fury going combining with an artistic dimension.
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