Back in the third century, Rome was the heart of the vast Roman Empire, and its Colosseum was the heart of the city.
Its where the rich, poor and otherwise gathered for events. Gladiator fights. Contests between man and beasts. Executions. Even nautical battles, when they’d flood the floor of the world’s largest amphitheater with water. This iconic monument, one of the Seven Wonders of the World, provides the canvas for this gripping mixture of history and fabrication. The sequel to 2001’s Oscar®-winning film “Gladiator.”
David Scarpa’s (“Napoleón”) script, with a story by Peter Craig and some original characters by David Franzoni, provides a strong foundation for the well-structured story: A young warrior, Lucius (Paul Mescal, “Aftersun”), his mentor Jubartha (Peter Mensah, “Avatar”), wife Arishat (Yuval Gonen) and other soldiers in Numida, North Africa prepare for battle. As the Roman General Marcus Acacius’ (Pedro Pascal, “Narcos”) army invades their homeland, they fight bravely. Few survive the carnage. Those who do are herded to Rome. Lucius is among the new slaves. He’s bitter, seething with thoughts of revenge and despises the Romans: “They have no land except the land they stole.”
At the Colosseum and its grounds, slaves turn into gladiators and gladiators into free men—that’s the goal. The contenders’ stage is the sandy floor of Ancient Rome’s massive arena, a killing field. Under the blazing sun, 50,000 blood-thirsty, raucous spectators witness fierce combat. Meanwhile, in the corridors of the arena and imperial palace, nobles and other conspirators meet and scheme.
The Roman Empire is run by co-emperors who are twins: Caracalla (Fred Hechinger, “Thelma”) and Geta (Joseph Quinn, “A Quiet Day: Day One”). They’re young, dumb and mean. Tyrants who’re way too susceptible to power grabs. Lucilla (Connie Nielsen, “Gladiator”), wife of the deceased and legendary gladiator Maximus (Russell Crowe), longs for Rome to escape its tyranny and be returned to its people. There are other malcontents and agitators. A coup is brewing.
Macrinus (Denzel Washington), an African transplant, former slave and now an ambitious merchant deals gladiators like others deal weapons. Ever cunning, the powerbroker knows who to manipulate to get his way. To him, the young fighter Lucius is an instrument. A means. Someone whose impressive hand-to-hand combat will dazzle the emperors, who may grant him favor. Conversely, Lucius recognizes Macrinus’ Machiavellian behavior. The fast talker is a pawn who could help him avenge his loved ones’ deaths. Mutual exploitation propels both men forward.
At age 86, director/producer Ridley Scott is still on his game. There are many moving parts in this multilayered, sword and sandal parable. Yet except for a few lapses in judgment, Scott handles most elements masterfully: Elaborate war scenes with a mix of humans and computer wizardry. Intimate moments of palace intrigue when deceit flows like the Tiber river. The various subplots are consistently discernable. Emotions—sorrow, love, happiness, anger—peak and dip accordingly. Extras, supporting actors and the leading cast never make a wrong move. Credit his skilled guidance. But blame his direction for some preposterous moments that jolt credibility.
Scarpa’s screenplay features stately, sometimes profound dialogue. Words said with fondness, threats, fear, affirmation and resolve. Always apropos. No flubs, no holes. Very impressive. Very Ben Hur. Also, his thoughtful blend of fact and fiction is so engrossing audiences will eagerly Google search his historical references. For the record: Lucilla, the rivalrous twin emperors and scheming Macrinus are based on real people. Acacius and Lucius are not. Also, the Colosseum was known for its brutal acts, but attacking baboons, trained rhinoceros and hungry sharks were never on the program. Hold the director and writer accountable for those silly over-the-top, CGI gimmicks. Credit Matthew Collinge, supervising sound editor and re-recording mixer, for mitigating those miscalculated scenes with sound effects so loud that they’ll scare the hell out of audiences.
The footage’s grandeur is consistent and evocative. Cinematographer John Mathieson’s “Gladiator” lighting and keen eye take great advantage of the sunlit landscapes and architecture of Malta and Ouarzazate, Morocco, two locations that help give the film its ancient look. Scott’s and his take on visions of cold black & white night skies are just gorgeous. Production designer Arthur Max “Gladiator” built interiors and exteriors that fit the period. Scenes mesh well because editors Claire Simpson and Sam Restivo nip and tuck expertly for 2h 28m. Some viewers will wish they’d also clipped the superfluous backstory scenes of Lucius as a child. Staying in the present is strong. Regurgitating the past is weak.
