Gladiator II is not a mere sequel, it is an epic historical film that so brims with exceptional performances, sets, costumes and ferocious action that it stands on its own. Ridley Scott builds on his legacy of the 2000 film, taking the story further.
Lucius Verus, portrayed by Paul Mescal, is the son of Maximus Decimus Meridius and Lucilla, the daughter of Marcus Aurelius. After Maximus dies in the arena, Lucilla sends their young son away to Numibia to keep him safe from rivals. Living as a refugee in Africa, Lucius is sold into slavery as a gladiator when his home is invaded by the Roman army led by General Marcus Acacius. As was his father Maximimus, Lucius is driven by revenge after his wife was killed by Acacius’ men in battle.
The story line up to that point is very familiar, but Ridley Scott gives the young Lucius more than a bloodthirst for revenge – he is fueled by rage. Amid stunningly well-crafted sword fights there is imperial corruption, and dueling schemes to overthrow the regime. Yet there is also a layer of humanity. His mother, portrayed as in the 2000 film by Connie Nielsen, has married Acacius and the pain she feels as husband and son are pitted against each other is palpable. Denzel Washington gives an outstanding performance as the cruel and scheming Macrinus, a former slave who buys Lucius for his own stable of gladiators.
Ridley Scott makes each scene in the nearly two-and-a-half-hour movie compelling. Yes, the film has some historical inaccuracies, but this isn’t a history lesson, it’s a masterclass in storytelling. The admiration of those who defy death as gladiators is well represented. The culture of these ancient Roman super stars is also given depth, including a former gladiator who has given up taking lives to saving them as a doctor. Amid all the violence and gruesome deaths, there is a constant, if at times faint, ray of dignity and grace.
The depravity of the twin emperors Geta and Caracalla, co-rulers of Rome, is abundantly and decadently portrayed by Joseph Quinn and Fred Hechinger, respectively. When Marcus Aurelius died, his “dream of a free Rome” was violently quashed by Geta and Caracalla. The thread of that dream is still held by Lucius, who is, after all, the rightful prince of Rome. Lucius tempers his rage with the nobility of the gladiator, using the code of the warriors, “strength and honor”, to lead them and make them a cohesive unit. The phrase “what we do in life will echo in eternity” is etched on the walls of his father’s catacomb and in his very being.
Gladiator II is a spectacle. It is dazzling with its costumes and sets, and a score by Harry Gregson-Williams that stands on its own while giving a welcome nod to the original musical theme of the 2000 Gladiator. There are glorious and gruesome battles, manipulation and plotting, and deeply held beliefs in the possibility of honor above corruption, country above self, and freedom. Indeed, there are things that echo in eternity, and in this life as well.