We all know and love Ridley Scott’s classic film, Gladiator (2000), which follows Roman military general, Maximus (Russell Crowe), who is unjustly accused of murdering Emperor Marcus Aurelius and sent to the gladiator arena. The film’s critical approach to Roman society, alongside its famed costume design, set design and script, has made the growing anticipation for Gladiator II unsurprising.
And it definitely hasn’t been a disappointment. Denzel Washington makes for a cunning depiction of Roman plutocracy, while the casting directors certainly knew what they were doing with the selection of Paul Mescal and Pedro Pascal – two of social media’s most fawned-over men – making them perfect for a gladiator arena which embodies a grotesque display of masculinity. The casting of Russell Crowe in Gladiator was a contemporary example of this masculine ideal which Scott has replicated for 2024 cinemas.
However, it seems the casting is as far as the films goes when considering masculinity. Except for a brief moment in Gladiator II where Lucius (Paul Mescal) sheds a tear after losing in battle to Rome, in both Gladiator films, the protagonists persist in their unending stoicism.
Despite this being a hallmark of Roman manhood, as well as the gladiator status itself, these depictions of masculinity are multifaceted and not applicable to modern day, which the films acknowledge. Gladiators were celebrated for their bravery and strength, even becoming celebrities in some cases, yet they remain slaves. Both films highlight this well and so, despite the casting’s clear attention to masculine ideals, the question of manhood in Rome is not a pressing issue for either of the films.
Instead, it is the criticism of Roman colonisation that becomes unmissable. With Scott taking on the Gladiator project for a second time, he has revived the very same nuanced questions of the first film, but with a more sensitive approach to Rome’s brutal colonialism. This is evident when comparing the opening scenes of both films, which feature battles. In Gladiator, the conflict against Germanic barbarians is presented from Maximus’s perspective. This controversially directs our sympathy toward Rome in this glorified re-enactment of their colonisation of Germanic territories.
However, Gladiator II works to rectify this ethically dubious placement of sympathy. The opening scene also depicts a battle, but is focalised through the othered perspective of an African general who fiercely fights against Rome’s unending pillaging. Gladiator II, with its varied perspectives, thereby presents us with a more thoughtful and holistic criticism of colonisation which gives voice to the victims of Rome’s brutality.
Both films have remarkable similarities to one of Shakespeare’s more violent plays, Titus Andronicus, the opening scene of which, like Gladiator, also depicts a Roman victory against the Germanic Barbarians. Although it is one of Shakespeare’s lesser known plays, Titus Andronicus also boasts unapologetic violence, gore and grotesque depictions of Rome which work to undermine its apparent virtues. Both Shakespeare and Scott persistently and overtly question, ‘what is Rome?’. Scott eloquently amplifies Shakespeare’s criticisms and concerns over Rome’s historical idealisation into a more digestible film.
Ultimately, both films succeed in criticism and entertainment. The scripts for both Gladiator and Gladiator II are strikingly complex and thought-provoking, whilst the level of gruesome violence works to entertain in a way much like the Romans enjoyed. Whilst Gladiator is much more subtle in its criticisms of Rome, Gladiator II is unapologetically explicit. This however ultimately creates holes in its commentary whereby Lucius’ initial anti-Rome position starts to evolve into an enjoyment and patriotism for his Emperor grandfather Marcus Aurelius, which appears as problematic for the films’ initial disenchantment of the Empire.
Nevertheless, if you enjoyed Gladiator and its historical themes, Gladiator II is a great sequel and a must watch; even if it is just to see two and a half hours of Paul Mescal fighting to the death!
3.5/5 stars.
