Though rhyming with Terminator, Gladiator does not have the ambition to be a pure and simple action movie mechanic. In the spectacular, this is a form of poetry that is sought after. The poetry of the ghosts: Gladiator is a film of ghosts. There are three of them. The peplum, a genre deceived for ages. Ridley Scott, past filmmaker of fashion and who succeeds a surprising comeback.
Maximus (Russell Crowe), finally, superb character and anti hero. This valiant general of the Roman army is a dead man. Thus it appears at the opening of Gladiator: already blessed in the hereafter, symbolized by the images of an antique nature strangely pacified. The story of Maximus begins again, since the whole film is a reversal. Return to the glory of Rome. …show more content…
Becoming a prisoner of a slave trader, Maximus is sold as a gladiator. So much to say as a beast for the slaughterhouse. But, in the hell of the arena, he fights like a barbaric god and soon challenges another, Commodus ... Around these characters, Gladiator makes his Russian salad of Roman history, like a peplum Classic. These include The Fall of the Roman Empire (1964), by Anthony Mann, where Marcus Aurelius was already killed by Commodus, for having preferred a certain Livius, who did not become a gladiator. It was then Sophia Loren who played Lucilla, the sister of Commode, here interpreted by the tastiest Connie Nielsen. But Ridley Scott is not passionate about classic plot style plots. Only the interest of his gladiator, which is in itself a magnificent intrigue. Invincible, he gives the heroic image of a man who seems to fight for his life, but in fact only fights for the dead, his wife, his son, and Marcus Aurelius. Maximus only expects them to avenge them in the living. Ridley Scott's brief visions of the afterlife may seem decorative. But his film is traversed by a diffuse and profound strangeness: a mixture of efficiency and reverie, energy and melancholy, sun and night. Like
Maximus (Russell Crowe), finally, superb character and anti hero. This valiant general of the Roman army is a dead man. Thus it appears at the opening of Gladiator: already blessed in the hereafter, symbolized by the images of an antique nature strangely pacified. The story of Maximus begins again, since the whole film is a reversal. Return to the glory of Rome. …show more content…
Becoming a prisoner of a slave trader, Maximus is sold as a gladiator. So much to say as a beast for the slaughterhouse. But, in the hell of the arena, he fights like a barbaric god and soon challenges another, Commodus ... Around these characters, Gladiator makes his Russian salad of Roman history, like a peplum Classic. These include The Fall of the Roman Empire (1964), by Anthony Mann, where Marcus Aurelius was already killed by Commodus, for having preferred a certain Livius, who did not become a gladiator. It was then Sophia Loren who played Lucilla, the sister of Commode, here interpreted by the tastiest Connie Nielsen. But Ridley Scott is not passionate about classic plot style plots. Only the interest of his gladiator, which is in itself a magnificent intrigue. Invincible, he gives the heroic image of a man who seems to fight for his life, but in fact only fights for the dead, his wife, his son, and Marcus Aurelius. Maximus only expects them to avenge them in the living. Ridley Scott's brief visions of the afterlife may seem decorative. But his film is traversed by a diffuse and profound strangeness: a mixture of efficiency and reverie, energy and melancholy, sun and night. Like