GLADIATOR
A DreamWorks & Universal Pictures release 

review by Joseph B. Mauceri

SYNOPSIS: Legendary Roman general is stripped of rank, holdings and family by Commodus, who murders his own father, Caesar Aurelius. General Maximus is reduced to a slave, and with nothing left to live for but revenge becomes a Gladiator. The group travels to Rome when Commodus declares a month long celebration, which features "games" in the Coliseum. Maximus returns to Rome to fight, affording him the chance to seek his revenge and fulfill the dying wish of an old friend.

REVIEW: Ridley Scott applies his highly stylized, unique directing talent to a story that is derivative of every epic tale, from the Bible to Shakespear and everything in between. Now, if it were simply a matter of universal archetypes, that would have been quite acceptable. After all, it is a tale set in the golden days of the Roman Empire. Unfortunately, the dialogue is a jumble of vernaculars of ancient and modern language. At times it is subtle enough to go unnoticed, but there are certain moments where it becomes laughable. Case in point, when Maximus returns to Rome Joaquin Phoenix goes on this diatribe using "vex" to the point of over kill. If it wasn't in a Shakespear play, I can't remember the last time I heard a character use the word in modern times.

Scott casts the film with a collection of veteran stars known for memorable appearances in Roman epics, or have that stately charisma. Richard Harris is obviously cast as Caesar due to his role of Arthur in "Camelot," while many people will remember Derek Jacobi from the BBC/PBS series "I, Claudius." Without a doubt, Crowe has the hustle and muscle to embody this antihero. You might compare his presence to that of Gray Cooper or Harrison Ford. However, there is this subtle twitch in his eye and edge in his voice that is reminiscent of Mel Gibson's Mad Max days. Connie Nielsen is wonderful and alluring as Lucilla, the sister to Commodus, who is caught in this tangled web of murder and deceit. Joaquin Phoenix, last scene in "8mm," displays this Anthony Perkins like propensity for portraying deranged characters. The most surprising, enjoyable performance of the entire film is Djimon Hounsou, of Amistad.

The computer work on the film is brilliant. The integration between sets and graphics seamless. The technology has reach a point where it has a tangible presence on screen. I fosters the set of reality and assists the narrative. The CGI graphics are marvelous to behold, and worthy of all the "oohs" and "ahs" elicited from the audience. Scott's aggressive camera work and action sequences test the limits of the technology, and it delivers. Roman is brought to life before our very eyes.
The opening battle sequence is glorious. Scott employees some interesting angles and camera work to put the audience in the thick of the fray. Equally engrossing are the smaller battles that take place in the Coliseum. Scott adds a bit of authenticity where possible, such as the real tigers that are in the shot with the actors. 

GLADIATOR is a majestic tale that suffers from subtle flaws, preventing it from achieving spectacle status. Acting and action are hindered by a script that suffers from too many writers and bad dialogue.  The film is propped up on the sturdy shoulders of acting and effects, which make it worthy of the big screen.

OFFICIAL WEB SITE:
www.gladiator-thefilm.com

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