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Gladiator (2000): Marcus Aurelius
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Regardless of the inherent limitations of the storytelling choices, the performances in Gladiator are unwaveringly excellent. Scene by scene, the events always remain watchable, because this cast is so emminently watchable. (Though Hans Zimmer's overblown, occasionally grating score sometimes undermines their efforts, particularly in the first third of the film.) The trio of veteran British actors who represent the Old Guard of Roman society bring charisma and gravity to their roles. Richard Harris' world-weary regality is perfect for Marcus Aurelius, who is the true spiritual center of the film's thematic content. It's sad to see this character exit so soon, both for the emperor's presence in the story and for Harris' presence on the screen. Oliver Reed (sadly, in his final role) is a different kind of world-weary as Proximo, the trainer/caretaker of the gladiators.
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Framed and punctuated by images of rippling wheatfields, Gladiator offers a vision of Rome that both undermines and reinforces the cinematic trope of the decadent empire. Maximus, a "simple" soldier, fights to preserve an ideal of Rome that stands as a bastion against brutality, cruelty and darkness. His Rome is reflected in eternity, a source of light stemming from the timeless rustic values at the foundation of Roman culture. His faith in this Rome is all the stronger for his never having seen the capital city. When the corruption that has tainted Rome destroys his family, Maximus loses his moral center, his "real" life, and is now required to fight "for nothing", for death in the arena. Maximus regains a sense of himself when he realizes his opportunity to transform the spectacle into truth; by "winning the crowd" he can fulfill the dream of Marcus Aurelius and "give Rome back her true self", freed from Commodus' oppression.
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If Gladiator has anything to recommend it, it is the performances. Russell Crowe is excellent as Maximus, as are Joaquin Phoenix as Commodus, Connie Nielsen as Lucilla, and Richard Harris as Marcus Aurelius. Crowe, in particular seems headed for superstardom. But good as the actors are, and they are all VERY good, the movie itself isn't worthy of them. Pity.
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Upon the sudden death of Roman emperor Marcus Aurelius, his trusted and successful general Narcissus Meridas is unlawfully imprisoned and condemned to the gladiator games by Marcus's twisted son Commodus. As the new emperor, Commodus fears Narcissus could use his heroic stature to depose him and become leader himself. But Narcissus gains fame as a gladiator and uses his celebrity to cause further damage to Commodus' tenuous hold on the susceptible Roman people, hoping to inspire them to rediscover their lost values and overcome the corruption that is eating away at them. These actions prompt Commodus to square off mano a mano with Narcissus in the Colisseum with the fate of Rome at stake. The characters of Marcus Aurelius and Commodus appeared in Anthony Mann's epic "Fall of the Roman Empire:, played by Alec Guinness and Christopher Plummer, respectively
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The Fall of the Roman Empire (1964) tells the story of Livius, who, like Maximus in Gladiator, is Marcus Aurelius's heir. Livius is in love with Lucilla (Maximus was formerly in love with her). Both films tell the story of the murder of Marcus Aurelius and Commodus's seizure of power when he learns that the old emperor is planning to appoint Livius/Maximus as his successor. In Fall of the Roman Empire it is a group of conspirators who hope to profit from Commodus's accession who arrange for Marcus Aurelius to be poisoned; in Gladiator Commodus strangles his father himself. In FORE Commodus contrives to keep Livius unwillingly loyal for part of his reign; in Gladiator Commodus tries to have Maximus murdered but is unsuccessful. Livius and Maximus both seek to avenge Marcus Aurelius by killing Commodus; both films climax in their single combat.
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[F]inally, an epic movie should have an appropriately rousing score and GLADIATOR delivers in that department with an equally epic score by Hans Zimmer (THE RING, HANNIBAL, THE LION KING). Prior to the film's final battle scene, the combatants rise into the Colosseum with the words of Marcus Aurelius himself set to a crescendo of operatic proportions. In addition to Zimmer's full bodied orchestral works, a good chunk of the film's score is augmented by the work of singer and composer Lisa Gerrard (MISSION: IMPOSSIBLE II, WHALE RIDER) whose haunting voice and vocal interpretations give the music an edge that punctuate the film's emotional moments. Gerrard's contributions give the movie its soul.
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