Ridley Scott’s epic film, Gladiator, won five Academy Awards, including Best Picture in 2000. Scott’s film, details the fall and rise of the great Roman General, Maximus Decimus Meridius. The Roman Emperor, Marcus Aurelius, tells Maximus that he wishes that he become his successor, instead of his son, Commodus. Angry, Commodus, murders his own father, thus becoming the emperor, and sentences Maximus and his family to death. He escapes, but the Emperor’s men murder his family and burn his home. Slave traders, then capture him, and sell him into slavery. Maximus swears revenge, and must fight for his murdered family, and destroyed life. A liberal humanistic critique reveals that the film has a self contained meaning, shows the enhancement of life, and reveals that human nature never changes.
Scott’s film, Gladiator, has a self contained meaning and theme, not connected to any other films or literature. The movie explains everything that the viewer needs, within the movie itself, making background information unnecessary. Background information can help the viewer comprehend more, but is not needed to understand the basic meaning or theme. Scott’s film, portrays two main themes: the greatness of man, and freedom. Forced into the gladiator arena, maximus fights heroically, wanting only revenge and his freedom. , Maximus, once a great hero, must again fight, not only for his life but his beliefs. Maximus’ character reveals this heroic nature, through his actions, and thoughts. The viewer understands this, without any background information. Scott creates this theme or idea, through Maximus’ character himself. This shows the viewer that a man’s greatness comes from ones own consciousness, and beliefs. Maximus has no...
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...ies. Modern censorship, has limited this somewhat morbid fascination, but many new movies, videogames, or television shows, supply the population with this desired entertainment. Scott’s film, Gladiator, reveals that human nature has changed very little, by recreating the bloody and violent Gladiator games, and the Roman Colloseum.
Ridley Scott’s film, “Gladiator,” portrays the sudden fall and heroic rise again, of a great Roman General named Maximus Decimus Meridius. Maximus’ monumental rise, and eventual vengeance, show the viewer, the greatness of this heroic character. A liberal humanistic critique, reveals that the film, has a self contained purpose or meaning, promotes the enhancement of life, and shows that human nature is basically unchanging.
Works Cited
Gladiator. Dir. Ridley Scott. Perf. Crow, Russell; Phoenix, Joaquin. Dreamworks Pictures: 2000
2. According to Sobchack, contemporary screen violence greatly differs than portrayals of violence in years past. Today, violent scenes are careless and lack significance because we as audiences have become calloused and desensitized to any acts of violence. She states that there is “no grace or benediction attached to violence. Indeed, its very intensity seems diminished” (Sobchack 432). Senseless violence, gruesome acts, and profound amounts of gore are prevalent in movies today, and because even this is not enough, it must be accompanied by loud blasts and noise, constantly moving scenes to keep audiences stimulated and large quantities of violence for viewers to enjoy what they are watching. Decades ago, it was the story that was engaging to audiences and filmmaking was an art.
In conclusion, William Shakespeare’s Julius Caesar is the quintessence of a tragic hero. He is highly respected in society and holds a position of authority, yet is corrupted by his pride and arrogance. He ignores warnings of assassination, but once he is attacked by his confidant Brutus he realizes his flaws. Unfortunately, he can never repent of his prideful ways, as his life is extinguished. Because he is murdered by one of his greatest friends and did so much to aid the destitute, he is a sympathetic character. Julius Caesar is a complex and multi-faceted man, but the tragedy of his life strikes a chord of sympathy that resonates throughout not only his subjects, but the readers of his downfall for centuries past, present, and future.
The relationship between entertainment and violence has always been rife with controversy. Today’s debate over violent video games, movies, and television shows is yet another manifestation of this timeless issue. In Confessions, Augustine addresses how humans consume violence as entertainment and proposes two reasons for why they do so. One is an act of pleasure seeking that uses the sight of tragedy or violence to bask in the feeling of false pity. The other is a carnal desire for excitement and adrenaline fueled by primal instincts. According to Augustine, both motivations degrade and dehumanize the viewer of violence. However, Augustine deeply valued the importance of learning from any viable source; Cicero’s Hortensius convinces him “that
When the Romans went to the gladiator fights, they wanted to watch a very exciting and entertaining contest. So, the Romans purposefully set up the gladiator fights to be unfair by making the matchups unbalanced. The gladiator’s living conditions affected the fight. Yet, with all the morals and myths that the Roman government promoted as what was expected of the roman citizens, the brutal battles that were in the coliseum wouldn’t be tolerated, but they were. The unpredictable outcome of these matches were what made these so entertaining.
On that first fateful day, when Romulus struck down his own brother Remus, the cauldron of Rome was forged in blood and betrayal. The seeds on the Palatine hill cultured one of the most potent and stretching empires of human history. Though this civilization seemingly wielded the bolts of Zeus, they were infested with violence, vanity, and deception. Yet, one man—or seemingly “un”-man—outshone and out-graced his surroundings and everyone within it. He brought Rome several victories and rescued his beloved country from an early exodus, thus providing her a second beginning. This man was Marcus Furius Camillus, and against a logical and emotional mind, he was oft less than loved and celebrated. At times he was disregarded, insulted and even exiled—irrevocably an unwarranted method to reward Rome’s “Second Founder.” This contrast of character between hero and people was perhaps too drastic and too grand. The people were not yet ready to see Marcus Furius Camillus as a model of behavior to be emulated—to be reproduced. Hence, much of Livy’s Book 5 provides a foundation for the Roman people to imitate and assimilate a contrasting, honest, and strong behavior and temperament
Stanley Kubick's Spartacus In the 1960 film Spartacus, directed by Stanley Kubrick, the character called Spartacus is depicted as a revolutionary who leads an army of slaves against the oppressive forces of Rome during the first century B.C. Though the overall story is true, and most of the main characters are real, the presentation of their character is entirely fictional. Spartacus and the other characters have been split into groups epitomizing good and evil, and the story itself has been vastly romanticized. This essay will address the ways in which the story deviates from reality and finally will show how Kubrick and those before him have used such interpretations as a valuable tool for social change.
After reading “Gladiator University” by Jennifer Marino Walters, and “Did Gladiators Always Fight to the Death?”, it is obvious to the reader how recent archaeological developments have changed the ways we understand how gladiators lived. What, precisely, has changed about the ways we understand how gladiators live? Buckle up, because this one is going to be a fun ride.
The first chapter of Strauss’ work, titled “The Gladiator”, explores both Spartacus’ background as a gladiator and Rome’s fascination with the sport. Strauss outlines how a gladiator match worked in Rome, usually in carefully chosen pairs starting with a practice match with wooden weapons followed by the real officiated match that was generally to the death unless the crowd decided that the wounded deserved to live. The attention is then turned to where the Spartacus legend begins, Capua. Strauss gives a sweeping view of Capua’s history in the Roman Empire, from being punished for allying itself with Hannibal to returning to some prominence as a slave center, in particular for gladiators. Gladiators were usually slaves, and much like Spartacus, were foreign. Spartacus was a Thracian, feared by Romans for their fierceness on hors...
I did like the Gladiator movie, it did really shows perspectives of being a tragic hero. In which their was so much betrayal in this movie, it did represent on how much Maximus has done to bring an end to Commodus reign and the vengeance he seeked. I do believe that Maximus was a tragic hero because of what events that occur which would put him in danger. He was more admirable than an average person would be and would earn his glory. The fortune that a tragic hero would occur will end in a downfall. He does display on what a tragic hero will represent in which that will bring him justice or
Gladiator (2000) is an action drama about a Roman general that is betrayed by his country and is forced to fight in the Colosseum. This particular scene, which runs for approximately 5 minutes, is the aftermath of the fight scene between Maximus, the betrayed general, and Commodus, the jealous emperor who betrayed him. This scene is not only significant because it is the concluding scene of the film, but also because it represents the end of Maximus’s enslavement and his coming to peace with dying.
For many years, people had flocked to the amphitheater to be morbidly entertained by gladiators. Gladiator battles were a relevant part of Roman life and a familiar occurrence during the time. However, what we thought we knew about gladiators may not actually be completely true. Did they really fight to the death every time? Recent archeological discoveries may tell us otherwise. The articles, “Gladiator University,” by Jennifer Walters, and “Did Gladiators Always Fight to the Death?, by Walters, provide information that may counteract everything we thought we knew about gladiators lives.
Ward, A 2001 The Movie "Gladiator" in Historical Perspective, AbleMedia. ctcweb@ablemedia.com, accessed 25 April 2014, .
Barker, Jennifer. "'A hero will rise': the myth of the fascist man in fight club and Gladiator." Literature-Film Quarterly 36.3 (2008): 171+. Literature Resource Center. Web. 9 Dec. 2013.
The main man of the film is Maximus; he is a general in the Roman
The expectancy theory proposes an individual will behave or act in a certain way because they are motivated to select a specific behavior over other behaviors due to what they expect the result of that selected behavior will be. In essence, the motivation of the behavior selection is determined by how much one desires the outcome to be. This is shown when Maximus is initially recognized as a supreme gladiator by his owner Proximo, the man who taught him how to fight as a gladiator. Proximo took great interest in Maximus’ abilities and encourages him to go to the Roman Coliseum to fight for his freedom. Proximo advises him that if he is able to “win the crowd”, he will earn their respect and eventually his freedom. Performance to Outcome poses the question on whether success will lead to reward. The reward in this case would be after successfully winning battles, and the crowds’ favor, Maximus would gain his freedom and seize his opportunity to kill Commodus. Maximus’ strong desire of vengeance for the murder of his family drives him to win every battle he comes up against. Infuriated by Maximus’ success, Commodus sets up a fixed fight between Maximus and Tigris of Gaul, the undefeated gladiator. Maximus prevails in the battle and against Commodus’ orders, spares Tigris’ life. Maximus’ defiance of the emperor and mercy to Tigris made him more popular to the crowd than even Commodus