Gladiator doesn’t match classic Ben Hur
Epic has potential but too focused on revenge
PETER
T. CHATTAWAY
CW Film Critic
Russell Crowe stars in Gladiator as a Roman slave driven by revenge over
the loss of his family and freedom.
Dreamworks
For all their piety, the Bible epics of the past are best remembered for their violent set pieces. God smote evildoers with earthquakes and lightning, armies clashed on land and at sea, and villainous charioteers were trampled to death by their opponents’ horses.
Death and destruction were what kept the crowds coming; but audiences wanted more than blood and guts, so most films offset the violence somewhat by touching on nobler themes, perhaps even by paying some attention to the Prince of Peace.
Today’s films are another matter. Take Gladiator, the year’s first real blockbuster, which has some things in common with, say, Ben-Hur. Set in the second century, it stars Russell Crowe as Maximus, a wealthy Roman general who, thanks to the jealous new emperor Commodus (Joaquin Phoenix), loses his family and his freedom.
With nothing to live for but revenge, Maximus distinguishes himself in the arena and ultimately works his way to the big leagues in Rome, where he itches for a chance to stand before Commodus again and plunge something sharp into the emperor’s belly.
The exalted, brought low, long for their comeuppance. Beyond that, the two films are very different. Ben-Hur was, in the end, a pacifist story, in which the title character, following the example of Jesus, eschews violence and puts down his sword.
But in Gladiator, Maximus simply wants revenge. And, in the end, he gets it. But first, he has to kill dozens of people for our viewing pleasure. Beyond satiating the audience’s thirst for blood, the film has no deeper theme to express, apart from Maximus’s oft-stated hope that he will see his loved ones again in the afterlife.
Great pool of talent
It’s a shame, really, since the film has such a great pool of talent at its disposal. Crowe magnificently conveys the weight of tragic loss that is borne by his character, yet he is capable of surprising moments of good humour, too. Phoenix, especially in his early scenes, brings a compelling humanity to an otherwise uninteresting villain. The late Oliver Reed is testy as ever as Maximus’s slave-owning master, and Richard Harris is effective in a small role as the emperor Marcus Aurelius.
One of Gladiator’s more preposterous ideas is that Aurelius, who ruled more than two centuries after Rome became an Empire, was prepared to do away with the imperial system and return control of the government to “the people.” How he would do this, exactly, remains unclear. He complains that the government he knows is too corrupt, but are the people any better? It is they, after all, who sit in the stands and encourage the carnage in the Colosseum. Director Ridley Scott, for his part, never encourages us to question the crowd’s complicity in all this bloodshed; he is too busy staging fight scenes, and we are too busy soaking them in.
A scene from Disney's Dinosaur.
DISNEY
Dinosaur, starring the voices of D.B. Sweeney, Julianna Margulies and Ossie Davis, is directed by Eric Leighton and Ralph Zondag. Rated PG for intense images.
Seven years have passed since Jurassic Park introduced the world to computer-generated lizards, and if you’ve seen one Lost World, Godzilla or T-Rex: Back to the Cretaceous, you’ve probably seen them all. Still, Disney’s Dinosaur does show some promise, at least during its wordless prologue, in which a dinosaur egg is carried far from its nest, across beautiful terrain, by several other dinosaurs and a pterodactyl.
The egg is eventually discovered by a tribe of monkeys who, in true Disney fashion, raise the lizard as one of their own. (Fortunately for them, it appears to be a herbivore.) But then disaster strikes, in the form of a meteor so big that its impact sends up a mushroom cloud, and the creatures have to look for a place to live that may have escaped the cataclysm.
The animation is okay, but not breathtaking, and the script toggles between predictable plot twists and really lame dialogue (one character, speaking during a monkey courtship ritual, actually uses the phrase “buffet table of love”). I went in hoping for a clever nature film like The Bear, but I got a high-tech, big-budget Land Before Time instead.
Children will probably love Dinosaur, but–the creation-evolution debate aside–they’d do better to catch the prehistoric sequence set to Stravinsky’s “The Rite of Spring” in the original Fantasia. The animation remains impressive, even 60 years later, and the music is much better. Best of all, there’s no bone-headed dialogue to make you grimace.