#general maximus

[spockvarietyhour]

Gladiator (2000) directed by Ridley Scott

[imasexypotato]

Commodus: If I die first, do you promise to wait for me, Maximus?

Maximus: ....*smiles*

Maximus: Oh, Highness. When I die, I’m taking you with me.

Commodus, scared: .... I can’t tell if that’s a threat or a compliment.

Maximus: I’d think of it more as a grim inevitability.

[lyledebeast]

One aspect of Gladiator that has stuck with me since my rewatch earlier this month and through subsequent discussions with @malicious-compliance-esq is how well the opposition of the hero and villain works. Part of the reason, ironically, is how much they have in common. Maximus and Commodus are not only both Roman men. they are both sons of Marcus Aurelius, which allows comparison from multiple points of view within the story: Marcus himself, Lucilla, and the Roman people collectively. Commodus references the list of Roman Virtues his father wrote to him about, confessing that he has none of them. Marcus agrees, describing Commodus as "not a moral man" and telling Maximus, "You are the son I should have had." Lucilla tells Maximus that she is terrified every hour of what Commodus will do to her and her son and that "The only time I ever felt safe was with you." The more Maximus defies Commodus as a gladiator, the more the people love him. Their proximity is used to highlight their opposing traits, making for clear, clean, simple, effective storytelling.

The Patriot's opposition of Benjamin Martin and William Tavington is far murkier. One reason is the jingoism that lies in the film's framing of difference in terms of binary opposition. The British and American Patriot characters are on opposing sides in a war but are more alike than different. They share the same language, religion, even military customs as we see when Martin attempts to school Tavington on the rules of war. Martin is himself a former officer of a Colonial British regiment. A slightly more effective, but still questionable binary the film sets up is gentleman/rustic. Cornwallis extolls the virtues of "gentleman in command" to both lead and restrain their men and is mortified at the end of the film to find himself defeated by an army of "peasants." Martin, however, manages to be both at the same time. He is equally comfortable in a rowdy tavern and an assembly of South Carolina landowners, or even a meeting with a British general: a man for all seasons. When Gabriel has reservations about the men his father has recruited, Martin says. "They're exactly the sort of men we need. They've fought this kind of war before." He is not referring to their uncouth appearance and manners but the ferocity and unconventional approach to warfare that made them effective guerilla fighters. Who else has these traits?

Though Cornwallis describes Tavington as coming from an esteemed family, his fellow officers clearly do not recognize him as a peer. We see this when he arrives at a gathering with blood on his cravat from the battle the British just won and they look at him like he forgot to wear pink on Wednesday. Cornwallis reprimands him for executing surrendering enemy soldiers, the same thing Martin forbids his men from doing (also after it's too late to stop them). While Martin being neither gentleman nor rustic but somehow both at once wins him the respect of both sides, the traits Tavington shares in common with rustics make him a pariah among gentlemen, but this is less a difference between the two men than between British and Patriot values. That Martin and Tavington both collapse this binary means not only are they more alike than different, but they have more in common with each other than either one has with anyone on his own side.

No one in the film can comment on this similarity because no one has enough proximity to Martin and Tavington to notice it. The focus of the few scenes they share is on a third binary the film attempts to construct: child killer/father. Again, these things are not opposites. For one, the two are not mutually exclusive. Whether through intent, accident, or negligence, fathers are regularly responsible for the deaths of their own children. The opposite of a child killer would be a child protector. Does Martin fit the bill? Well, let's see. In the scenes immediately following Tavington's murder of his son Thomas, he abandons his youngest children in a field by his burning house, orders his next youngest sons to shoot British officers, and when the son he did all this to free is used as a human shield, Martin throws a tomahawk at his head to take out his captor. The only scene where Martin may be said to protect his children comes when he lures the Green Dragoons away from the burning plantation. However, the dragoons are only there in the first place because Martin blew his cover at Fort Carolina to save his captured men. The majority of Martin's children survive his negligence, but those of his men are not so lucky. He has no qualms about both making them targets of British aggression and eliminating their main source of protection from that aggression by recruiting their fathers. So much for "I am a parent; I can't afford principles."

Gladiator's comparison of Maximus and Commodus is effective because they are judged by the same standard: Maximus meets, even exceeds it, while Commodus does not. The Patriot, however, applies very different standards to strikingly similar characters. All of Tavington's reprehensible choices are made with an end goal of British victory, yet neither he nor anyone else can imagine a future for him in England in which those choices are not harshly condemned. Meanwhile, Martin's past war crimes and more recent abandonment/endangerment of his children are presented asforgivable, even laudable, because of the results he achieves. "The honor is in the ends, not the means," or something like that.

[antikristvs]

"Are you not entertained?!"

Gladiator (2000)

[prettypritish]

A Massive Cock Is Mightier Than The Sword: The Vampire Queen casts a spell on General Maximus. She is mesmerized by his beefy, muscular body and massive cock!

[imasexypotato]

Commodus: I'm not one to brag

Maximus, judging: You once called your face the proof of God’s existence

Commodus: ....Your point?

[lyledebeast]

Since rewatching Gladiator the other day for the first time in many years, I've been thinking how oddly similar the fight between Maximus and Commodus is to the fight between Benjamin Martin and William Tavington in The Patriot, with one jarring difference. In Gladiator, it is the villain who wounds the hero prior to their fight to give himself an advantage and yet loses the fight anyway. In The Patriot, the hero does exactly the same thing. I am by no means an expert on fight choreography, but I believe a good fight scene, like a good sex scene, is one that provides the audience with greater understanding of the characters involved. Gladiator's fight scene does that. I'm not sure The Patriot's does, or at least not in the way the filmmakers intended.

Maximus and Commodus's fight is a piece of theatre orchestrated by Commodus to help him win the affections of Rome's citizens away from Maximus. He doubts that he can defeat Maximus purely based on skill, so he stabs him in the shoulder blade while Maximus is bound just prior to their appearance before the crowd in the Colosseum. Even gravely injured, Maximus is able to get the upper hand through his superior skill as a fighter and force Commodus to drop his sword. Commodus immediately demands another sword from the soldiers surrounding them, expecting another chance at victory to be literally handed to him. While this demand is made and refused, Maximus watches. He does not take the opportunity to kill Commodus while he is unarmed; he even drops his own sword. When Commodus pulls a surprise dagger out of his armor sleeve, Maximus again outfights him, getting control of the blade and stabbing Commodus in the throat.

Commodus's plan drives home what we've already seen of him in his relationships with his father and sister. He expects love purely on the basis of who he is, just as he expects the Roman people to transfer their affection to him for no other reason than that he has killed their hero. He fails to realize that the people do not love Maximus only because he wins. They love him because he wins against overwhelming odds, he's a good leader, he's resourceful, he's fair and even merciful. And he is a hell of a fighter. Most of these qualities are also on display in his fight with Commodus even as he is seeking vengeance for the wife and son Commodus murdered. Even though Maximus is as dead as Commodus at the end of the scene, finally having bled to death from his shoulder wound, it is his body that is carried from the arena with honor.

Martin and Tavington are more fairly matched than Maximus and Commodus; scenes prior to the film's climax show that they are both skilled fighters. But it is quite clear from the beginning that Martin has no interest in a fair fight. When they meet on the battlefield, they charge, Tavington on his horse and Martin on foot, holding the American flag repaired by the son Tavington killed like a spear. Just before they come into contact, Martin drops to his knee and stabs Tavington's horse in the chest. Horse falls, Tavington flies through the air and into the oncoming line of British soldiers. Once the fight is in progress, Tavington's bleeding from the mouth is better accounted for by this fall than any of the other injuries he recives. When he gets up Martin is waiting to shoot him with a ball made from a boiled down toy soldier belonging to his other son that Tavington killed while Tavington is disoriented from his fall and his hands are empty. Fortunately for Tavington, a cannonball hits just behind Martin and causes him to hit Tavington in the bicep, not the chest. And then it's on.

In addition to being absolutely awash in kitsch and sentimentality, there is something going on with Martin's development here. Throughout the film, he has been torn between two roles: the father and the fighter. For most of the run time, it is the role of fighter that he chooses. His choice to stay out of the war and protect his children is met with revulsion by his peers and oldest son, and later Martin himself regrets it. "I have done nothing, and for that I am ashamed," he says. But when he gets his ass whooped by a wounded British officer he had hoped to shoot while unarmed, his being a father becomes very important again. Tavington, having knocked Martin's weapons out of his hands and beaten him to his knees, takes a moment to gloat: a long one. Then two things happen almost simultaneously. An American flag drifts into Martin's field of vision, reminding him of the son he is meant to be avenging--the flag son, not the toy soldier one--and Tavington, theatre queen that he is, announces his next move: "Kill me before the war is over will you? It seems you are not the better man." He swings his sword, Martin ducks, swings around, and stabs him through the torso with a bayonet. "You're right," Martin growls. "My sons were better men." The he stabs Tavington through the throat because that was all the rage in 2000.

Up until that sudden turn of events, the clearest understanding the fight gives us of Martin's character is that when he made his promise to kill Tavington his mouth wrote a check his hands couldn't cash. Tavinton may be a child-killer and a woman-burner and executor of surrendering/wounded soldiers, but the only thing this fight tells us about him is that he is a Bad Bitch on the battlefield. His gloating is consistent with earlier behavior--the man does love to make a speech--but Martin's response is consistent only in the narrative handing him triumphs he has done nothing to earn.

In Gladiator, the fight itself is important. The way the men fight tells us important things about them. In The Patriot, it does not really matter who fights well, or fairly, or even who wins the fight. The only thing that matters is that the hero lives and the villain dies, which makes the fight between them feel a bit gratuitous. I find it satisfying to watch, though, if only for the look of shock and anguish on Mel Gibson's face when he realizes he is losing. Joaquin Phoenix's expression at the same point in his fight with Russell Crowe is quite familar: This can't be happening. Doesn't he know? I am Too Special To Lose This Fight!! The difference is that in Benjamin Martin's case, the story agrees. He is too special to lose this fight.

[antikristvs]

Gladiator (2000)