In Ridley Scott's epic drama Gladiator, the Roman Empire is restored to its former cinematic glory.
It's been 30 years since Hollywood visited ancient Rome with all its splendour and decadence, and we can have no better tour guide than Scott.
He does for the past in Gladiator what he did for the future in Blade Runner and Alien. The opening battle sequences in Gladiator are heart-pounding in their authenticity, as are the combat scenes between the gladiators in the second half of the film.
Linking all this macho mayhem is a powerful and arresting performance from Russell Crowe as the betrayed Roman General Maximus. As the film opens, Maximus is leading the Roman army against the warring Germanic tribes.
It's a bloody triumph, but one that ensures there are no outside challengers to the rule of the aging Emperor Marcus Aurelius (Richard Harris).
Unfortunately for Aurelius, the greatest threat to him and Rome comes from his scheming, cowardly son Commodus (Joaquin Phoenix).
When Commodus learns his father plans to name Maximus as his heir, the ungrateful weasel smothers his father and pronounces a death sentence on Maximus, the man's wife and son.
Only Maximus survives, but he finds himself a slave to Proximo (Oliver Reed), a trainer for a travelling circus of gladiators.
Maximus becomes Proximo's star pupil and such an instant legend that Proximo is invited to bring his gladiators to Rome to kill or die for the pleasure and sport of Commodus himself.
As Maximus' popularity rises, he becomes Rome's only hope against the crippling whims of Commodus.
Gladiator is a cross between Spartacus and The Fall of the Roman Empire, two of the finest examples of historical cinema fiction. It soars for several reasons, not the least of which are Scott's direction and Crowe's riveting central performance.
Crowe is so physically right for this role.
He looks as if he could be a warrior and exudes confidence and physical prowess.
There's also a vulnerability and spirituality that linger beneath his taut, fearless exterior, giving Maximus an intriguing duality.
On the other side of the camera, Scott shows the same kind of control and confidence. The computer-generated backgrounds are sumptuous, giving us a glimpse of the magnificence of the Roman Empire at its peak.
Scott wisely cast some of Britain's finest character actors in supporting roles.
As Proximo, the gladiator who won his freedom only to become a slave-master himself, Reed is all gruff and debauched. He died weeks before the film was completed and this is a fitting tribute to his massive talents.
Though his Aurelius is frail and tired, Harris shows the wisdom and strength that once made him the most feared ruler in the world.
Phoenix is a villain in the grand snivelling, sexually frustrated tradition. His incestuous feelings for his widowed sister Lucilla are creepy because Phoenix's lechery seems as dangerous as it is pitiful and ineffectual.
What Gladiator needed was a passionate love story between Maximus and Lucilla, and not one that has waned years earlier.
Scott's Gladiator is obviously meant to be a saga of honour, bravery and revenge -- and it delivers non-stop on all these counts.
(This film is rated AA)
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