🔴 Watch Drama Russell Crowe And Connie Nielsen In Gladiator (2000) Full Movie
Date: 2020-04-04 02:19:50
Viewed: 139 times - 1 day, 18 hour, 16 minute, 33 second ago
A veteran of muscle entertainment cinema, Sir Ridley Scott, portrays 180 AD, the year of the death of the Roman emperor and philosopher Marcus Aurelius (Richard Harris) with great detail and a great sense of entertainment. An effective plot cue to involve an iconic protagonist such as General Massimo Decimo Meridio (Russell Crowe) and the slimy exceptional antagonist Commodus, son of Marcus Aurelius, played by the evergreen Joaquin Phoenix. The film was the subject of discussion due to the plausibility of the plot but also an extraordinary box office success (roughly $ 457 million global dollars between 2000 and 2001). The Gladiator presents itself to the public as an overwhelming work and dictated by the impetus and dynamism of the characters who live within it.
The director lives up to his commitment, giving us a full-blown blockbuster, with masterful action sequences set in Rome, during the gladiatorial games in the Colosseum. The filmic approach is based on the exaltation of almost mythological scenes and battles to the death between warriors poised between life and death, imprisonment and freedom. The staging carefully packaged, especially in terms of scenery and costumes, makes the historical context represented alive and vibrant.
The classic path of purification and redemption of a man is deeply depressed by the pains caused and by the evil he has accumulated for futile purposes. Massimo, guided by the unyielding ethics of war, will soon know the meaning of loss, sacrifice and emotional redemption in a whirlwind of shocking events that will involve him in person, starting from the brutal killing of his wife and son at the hands of Commodo .
The Gladiator: Russell Crowe and the role of life
The portrait of Massimo Decimo Meridio becomes a central element in defining tones and trends in the narrative. The Logos and the Pathos travel on parallel lines and set the law during the difficult path taken by the protagonist. "A general who became a slave, the slave who became a gladiator, the gladiator who challenged an emperor" reads Phoenix: an incisive tagline and one of the most memorable lines of the film that serves as a basis for dividing the story into blocks. The turning points reserved for Massimo to evolve and redeem himself towards the final act are fundamental to gradually increase involvement and emotional impact.
Leading a cast full of prominent faces, starting from Phoenix himself up to the revelation Djimon Hounsou in the role of the Numidian hunter Juba, a noteworthy Russell Crowe. He has the difficult task of keeping the spectator and the spectacle intact and without slowing down of any kind. In the suffering and punishment he is serving, from the high position in the ranks to the gladiator cells constantly fighting for his life, lies the heart of a writing aimed at enhancing the individual more than the circumstance and accurate historical reconstruction. The technical components are enhanced around the figure of the brave leader and the fearless slave, with Ridley Scott on the shields and behind the camera intent on relentlessly resuming his authentic deeds.
The Gladiator: the magic of cinema through the eyes of a visionary
Ridley Scott has always taken into account the sectioned action in great views and representative panoramas. He uses specific and personally managed storyboards to transpose his vision of the work and the atmosphere that you will have to breathe inside. To him the merit of having restored film luster and splendor, through the focus on detailed costumes and spectacular stage effects awarded at the Oscars. The ancient image of Rome panem et circensem, with an empire that was supported by popular consensus and violent games, is photographed with an admirable creative flair.
It was decided not to outline a particular historical event giving importance to events that reflect the truth, rather we try to lead us by the hand to the rediscovery of the most characteristic places of imperial Rome: among these the basilica of Maxentius and the arch of Constantine stand out, then follows the reconstruction of the Flavian Amphitheater, better known as the Colosseum. The ingenuities or historical inaccuracies that are highlighted so much (such as the emblematic gesture through which the hand pronounces the life or death of the defeated gladiator) are errors planned and wanted by the director to make it easier to understand the story of his own target audience. A new epic narrative manages to establish itself in the cinema in the early 2000s, with Il Gladiatore new educational paradigms are provided. The film takes on the task of communicating illustrious thoughts to young people, the desire to do "great things", the cult of memory. Scott does not forget to focus on a man who must always be guided by his own conscience, draw lessons from the past and always be worthy of the values that he places at the base of his existence.
An overwhelming and applauding soundtrack, that of Il Gladiatore
The particularity that shines within this immense production is undoubtedly the musical score by Hans Zimmer, entrusted to the enchanting voice of Lisa Gerrard. A soundtrack that manages to strike straight to the heart of those who follow the events represented with particular attention. Almost paradisiacal melodies manage to mix with exciting battle songs, which perfectly match the frantic action seen on the screen. A soundtrack completely written by Zimmer himself, which aims to follow the same steps taken by the Oscar-winning actor Crowe.
An existential path, a path marked by blood, a dark tunnel that leads to the rediscovery of a new life in the company of his wife, who is calling him from beyond. The function of singer Lisa Gerrard is precisely this: to take the side of a faithful and angelic woman, ready to attract a man who is torn and tired of suffering between the enemy lines and the pile of corpses accumulated in the arena. According to what Gerard herself said, the words of the unforgettable song "Now We Are Free" are totally invented and are not part of any language known by man, because the song aims to arouse feelings in the listener for the sound of the words and not for their meaning. The tenacious spirit of Massimo Decimo Meridio and the call to another dimension towards the completion of an unmade character profile are the foundations for developing evocative pieces destined to remain etched in memory for decades.
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