This November, the long-awaited sequel to Ridley Scott’s classic film Gladiator arrived in theaters across the nation. The creatively named Gladiator II, starring Paul Mescal and Denzel Washington, garnered mixed reviews from critics. While the first film was widely lauded as a masterpiece, the sequel could be passed off as a modern remake of the original. Despite this, the film still grossed $461 million worldwide, comparable to the original’s $465 million. This continued interest has led to speculation that there may be another installment in the Gladiator franchise, a suspicion that Ridley Scott recently confirmed. Hopefully he’ll figure out how to write a more original script between now and then (spoiler alert).
While the effects and acting were impressive, the plot was nearly indistinguishable from that of the original. In the beginning, the films appeared promisingly unique. Mescal’s Lucius was shown defending his adopted homeland of Numidia from the Roman Army, in stark contrast to Gladiator’s protagonist, who is introduced as a Roman general. However, after these first few minutes, the films begin to blur together. Both main characters ride along dusty roads in the hands of slave dealers, sullen and bloodied. Once they arrive in their respective training camps, both surprise their masters with their aptitude for fighting. After several local fights (including a disturbing scene in Gladiator II where Mescal’s character bites a monkey), both are taken to Rome to compete in the Colosseum. In both films, the protagonists gaze up at the familiar buildings and flash meaningful looks at their companions.
One of the only bright spots is that Gladiator II provides flashbacks throughout, revealing aspects of Lucius’ former life. The story of Lucius’ exile in the far reaches of the empire could have elevated Gladiator II to the level of the original, if only it wasn’t presented in thirty second flashes from the past. The film’s other flashbacks are shamelessly appropriated from the original, featuring monochrome scenes of Lucius drifting through an afterlife, a dimension apparently dotted with picturesque villas and manicured hedges.
The revelation that Lucius is the son of the first protagonist, Maximus, gives the film’s director the perfect opportunity to reuse another Gladiator scene, sending Lucius’s mother and Maximus’ part-time girlfriend Lucilla into the gladiator barracks for more tearful reconciliation attempts. Afterwards, she goes home to plot the overthrow of the emperor with the same senator as the first movie, who has seemingly been waiting for another rebellious gladiator to come along to assist with his scheme. They are predictably caught, and Lucius is sent into the arena to save the plotters from execution. In the ensuing riot, Lucius pursues his owner to the gate outside the city, determined to avenge his mother.
Despite the different settings, both films close with dramatic duels between the protagonists and their respective enslavers. While Maximus perishes and Lucius survives, the final minutes of the films are indistinguishable, as characters kneel in the Colosseum, rubbing sand between their hands and thinking about dying.
