In ‘Gladiator II,’ Ridley Scott Sifts Through the Past to See Our Future

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As a film scholar with over four decades of experience under my belt, I find myself deeply moved by Ridley Scott‘s latest cinematic masterpiece, “Gladiator II.” The movie not only showcases Scott’s unparalleled storytelling prowess but also serves as a powerful reflection of our current societal struggles.

Once more, the gates to the battlefield stand open. Within lies a tapestry of loyalty and deceit, power struggles and ideological clashes. Petitions are made to countless deities and ancestors as individuals – shaped by pilfered heritage, courage, territory, purpose, and self-image – anticipate their fate. Within those gates, where bloodshed and war loom, there’s a glimmer of hope – though it may be battered, bruised, and lying in the dirt – that persists in the struggle. This battlefield is Gladiator II, and Ridley Scott gazes upon the world as it marches onward, a chariot embodying all we might become.

As a dedicated gamer delving into the world of cinema, I can’t help but marvel at Ridley Scott’s body of work, particularly his science-fiction masterpieces like “Alien” (1979) and “Blade Runner” (1982). These films, accompanied by their prequels, “Prometheus” (2012) and “Alien: Covenant” (2017), along with the lesser-yet-no-less-significant “The Martian” (2015), have cemented Scott as a maestro of sci-fi filmmaking. Though these films represent only a fraction of his overall work, they’ve shaped his legacy in profound ways.

In its ongoing portrayal, the filmmaker nearing 87 years old, featured in “Gladiator II,” expresses persistent worry about the fate of humanity. Drawing upon a wealth of life experiences, he sifts through the remnants of history, seeking not only answers but also understanding as to why, despite our technological progress and forward strides, human nature remains distressingly familiar. The cycle endures.

After finishing Gladiator II, a movie that came to mind was Alien: Covenant. This might be a sign for some to avoid Ridley Scott’s latest work, given the controversial reception of both films. However, it is when Scott challenges viewers with conflicting perspectives that his movies become most intriguing. This is likely why many of his films have been reevaluated and acclaimed over time. Interestingly, in Scott’s future, people are often driven to disagreement, torn apart by their creations and beliefs about their origins. Only through unity and collaboration to address a common issue, like the rescue mission in The Martian with Matt Damon, can humanity accomplish something extraordinary. Regrettably, this makes The Martian the most implausible of Scott’s sci-fi films in our current era. Yet, in 2015, it seemed, perhaps, eventually attainable.

Following the release of The Martian, Scott ventured back into a bleaker future with Alien: Covenant. This film was significantly more grim than any of his previous science fiction productions, even surpassing the original Alien. The movie presents a world that is cruel and heartless. In this universe, no life holds value, no faith provides salvation, and human achievements – particularly the character Shaw (portrayed by Noomi Rapace) – become mere exhibits in David’s (Michael Fassbender) personal collection. David views these creations with awe and respect, but his understanding of them is flawed and he exploits them much like how many people misinterpret Roman antiquity. In Covenant, humans are mercilessly pursued, maimed, and slaughtered for entertainment by David. He revels in the power to control life itself and watches as his creations struggle amidst bloodshed.

As a devoted admirer, I’ve noticed that many of the same societal motifs in Ridley Scott’s film “Covenant,” released post-2016 elections, resurface in “Gladiator II.” Just like before, Scott seems to be pondering over the trajectory of our contemporary culture. In the face of complaints about everything being politicized and Elon Musk’s claim that “Gladiator II” is “woke,” a term often misused, Scott has been open about the impact U.S. politics had on the movie. The speed at which Scott produces films now gives him a unique vantage point to stay abreast of current events. Regarding the central antagonist of “Gladiator II,” Denzel Washington’s Macrinus, Scott spoke to The Hollywood Reporter saying, “He was a billionaire in his time, so why wouldn’t he aspire for the throne? ‘Why not me?’ He’s also a shrewd gangster, very much like Trump. A clever manipulator who stirs chaos and from that chaos, he can rise.

Although I concur that Macrinus and Trump share traits as chaos agents, it’s important to note their differences rather than their similarities. In my opinion, Trump lacks the intrigue and cunning that Macrinus might possess; instead, he embodies a type of villainy founded on vanity, wealth, and the dissemination of falsehoods. This is a theme that Ridley Scott explored in his films following Covenant. It’s not an original observation, but there are echoes of Trump in several of Scott’s characters such as J. Paul Getty (Christopher Plummer) from All the Money in the World (2017), Jacques le Gris (Adam Driver) from The Last Duel (2021), Patrizia Reggiani (Lady Gaga) in House of Gucci (2021), and Napoleon (Joaquin Phoenix) in Napoleon (2013). These characters are reflections of Trump, and he is a reflection of historical figures as well. Trump’s condition is not unique; perhaps no characters better illustrate this than Ridley Scott’s portrayal of Emperor Geta (Joseph Quinn) and Emperor Caracalla (Fred Hechinger) in Gladiator II.

how can we defeat an evil that exists within the very essence of an achieved ideal? This problem is exemplified in Macrinus’ case.

Originally, Macrinus was a slave to Emperor Marcus Aurelius, bearing the emperor’s mark on his body. However, he transformed himself, creating a new identity and persona. In the films ‘Gladiator’ (2000) and ‘Gladiator II’, Aurelius, portrayed by Richard Harris, is presented as a noble and wise leader who could have saved Rome and established a peaceful Republic. This was to be his lasting legacy; a legacy that was unfairly taken from Maximus (Russell Crowe), but later given another chance through the actions of Aurelius’ grandson and Maximus’ son, Lucius (Paul Mescal).

In another viewpoint, Aurelius may be seen as no better than Commodus, Greta, or Caracalla. To those conquered, his rule was just as oppressive as theirs. The use of force, even when cloaked in politeness, remains violence, and this harsh reality has endured for millennia. This perspective can be seen in the apathy and disenchantment between the Democratic and Republican parties concerning warfare today. When considering the act of conquering foreign lands, subjugating, and controlling foreign peoples, was Aurelius fundamentally different from Carcalla? Is Biden distinct from Trump on this matter? Could Harris, who upholds his legacy, bring peace? Will there ever be another opportunity for peace, held by someone like Lucius, who bears a familiar name but lacks political ambition? The answer is not straightforward; Scott merely explores history, intertwined with fiction, to remind us that we’ve faced similar situations before: Where did this path lead, and how can we break free from the cycle?

Macrinus isn’t shaped by his inheritance, but rather by what was once taken from him. His drive for Rome isn’t about restoring its past grandeur, but about tearing it down and creating something fresh. This perspective, often shared in today’s society by those who believe America can only progress by demolishing it and rebuilding, is similar. Like Macrinus, this vision, whether acknowledged or not, cannot be realized without making sacrifices – the common people of an empire are usually the ones who suffer first in revolutions, their lives serving as the foundation upon which the fallen will be buried.

And this brings me back to Covenant and the concerns of David. David was created and had his free will stolen from him. He was made to serve. And so, he seemingly does; always ready to help, lend advice and guide the future in a direction that seems most beneficial to all. And through it all, he watches, just as Macrinus does. He reads people and twists their screws until he owns them without their knowledge. Macrinus is infatuated with owning people, senators, emperors and gladiators. They are, as he calls Lucius, “instruments.” He sees them as necessary for Rome’s destruction and evolution. In the same fashion David, who has devoted himself to the practice of the flute, humanity’s oldest instrument, lures humans to him, a Pied Piper in search of the genetic material he can use to destroy humankind and evolve life into the perfect organism.

Ultimately, equipped with an understanding of history and movie series, we understand that destruction doesn’t pave a new way or promote change; it merely results in more of the same. More conflict, more violence, more battles, and more arenas where we are either spectators or combatants, still active participants. The groundwork remains unchanged and the past cannot be undone. However, as usual, that resilient symbol of hope continues to stand.

Where can we locate this hope? It’s hidden in the same places where our despair often lies. We give ourselves the chance to reflect, much like Lucius did, by examining the past with an open mind and a readiness to be a catalyst for change. We must remember that the future is not predestined; it depends on what we do and don’t do. This is a powerful tool, one that Scott has dedicated his career to exploring, a tool that initially brought him recognition when he directed the commercial, “Bike Round,” for Hovis Bread in 1973: The wheel. Perhaps, after so many years, Scott’s most significant response isn’t to shatter it, but rather, to keep riding it out of the ring instead.

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Experience Gladiator II on the big screen now! Hear what director Scott has to say about a potential Gladiator III, and take a peek at the production process of this sequel!

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2024-11-26 19:55