Denzel Washington Should Always Have a Little Shawl

As a fashion enthusiast and film critic with over two decades of experience under my belt, I must say that Gladiator II’s costume designer Janty Yates has truly outdone herself – especially when it comes to the character of the enigmatic Macrinus. This man is not just a villain; he’s a walking, talking, flamboyantly dressed testament to the power of self-expression and the art of dressing well.

Spoilers follow for Gladiator II, released in theaters on November 22.

In the movie “Gladiator II,” Ridley Scott’s follow-up to his 2000 Best Picture winner, there’s a variety of stunning scenes. Sharks and baboons feasting on human flesh among combatants, Paul Mescal bare-chested with a muscular, hairless physique, Joseph Quinn and Fred Hechinger in white makeup and red eye shadow, resembling Joker’s followers. The film aspires to be remarkable in many ways. However, the one aspect that truly deserves a thumbs-up from the Colosseum and adds the grandeur and pomposity “Gladiator II” requires is Denzel Washington and his numerous ornate, embroidered, and embellished costumes.

In “Gladiator II”, Denzel Washington showcases the full might of his A-list talent, his undeniable status as one of America’s greatest actors, in the role of Macrinus. Once a slave and gladiator, Macrinus has risen through the ranks in Rome over the past two decades, becoming an indispensable figure to its nobility. He adapts to the city and its rulers, providing weapons for their endless wars and purchasing prisoners from these battles to bolster his army of gladiators, including the lost Prince of Rome, Lucius (Mescal).

In this captivating narrative, I find myself utterly spellbound by Denzel Washington’s exceptional portrayal in the film. His performance is a masterful blend of dignity, bitterness, arrogance, and unwavering resolve, leaving all his co-stars in his wake. There’s an air of self-assuredness in his voice when he queries Lucius about his native language, and a subtle, almost playful seduction as he sizes him up for purchase, appreciating his “strong jaw” and “good arms.

Denzel Washington Should Always Have a Little Shawl

A performance as striking as this can only stem from an actor exercising discernment. Macrinus subtly echoes some of Washington’s previous roles (the boisterous bravado of Training Day, the smoldering anger of Man on Fire, the calculating cunning of American Gangster), and it appears that he too is consistently making decisions – deciding when to speak, when to confront, when to withdraw, and when to indulge. He exhibits no desire to blend in with the Romans, and Washington’s sense of superiority is most evident through his attire. Every time Macrinus adjusts one of his lavish garments, it serves as a silent snub towards both his contemporaries and adversaries.

Washington approaches the role like a preening peacock or a man showing off all his toys, and at first, his constant finicking might seem like a tic. Before sitting down to judge Lucius’s potential as a gladiator, he makes sure he’s not sitting on his clothes in a way that would wrinkle them. While he stands, he smooths his sleeve cuffs or shifts his weight to billow out his caftan. When he leans forward to observe Lucius’s fighting in the arena, he runs his fingers across his cuffs and his rings. But as the film goes on, those idiosyncrasies reveal themselves to be more like a blend of subterfuge and pleasure, another way for Macrinus to hide his intentions behind a veil. He puffs out his chest and rearranges his belt before casually ruining Lucius’s memory of his grandfather Marcus Aurelius with, “The dream of Rome, that’s an old man’s fantasy.” He punctuates his disgust for the late emperor by yanking down his collar and showing Lucius’s mother the brand on his chest from when he was Aurelius’s slave, and then placidly smooths the fabric back over the scar. Macrinus tells Lucius at one point, “I have a destiny. You will be my instrument,” but his most crucial resources are his fits.

Bravo to costume designer Janty Yates and her team for their exceptional work on “Gladiator II”: Velvet and silk garments such as caftans and togas, along with a chain mail that resembles mithril. A quilted chartreuse vest, a shirt speckled with gold, and shawls reminiscent of those your grandmother would admire, worn with a dashing flair over the shoulders or casually slung across the arm. A collection of jeweled rings, heavy cuff bracelets large enough to conceal a thin blade, and gold hoop earrings that were always worn like uniforms. Washington carries the burden of alleviating “Gladiator II”‘s gloominess and its relentless devotion to the martyred memory of Russell Crowe’s Maximus Decimus Meridius with great enthusiasm, especially when he is adorning his clothes or accessories. Despite some problematic aspects of “Gladiator II” (such as the latent homophobia in the depiction of the evil twins lounging with male concubines, and Africa portrayed as a place of rebirth for white characters), Washington’s exuberant embrace of this grandiose, flamboyant performance feels modern and innovative.

In simpler terms, Macrinus’s attire serves a dual purpose – it’s both a show of vanity and a symbol of protection. On one side, if people perceive him as vain, they might not take him seriously. However, given his rise from a slave to a warrior, then a victorious gladiator, and finally a respected citizen who views Rome as corrupt, it’s understandable that he might be proud. He’s earned the right to flaunt extravagant accessories like a gold belt, an oversized evil-eye pendant, or a long chain of golden spheres. He likes to keep his cape raised above the dirt, symbolizing his desire to rise above Rome. Interestingly, before receiving Lucius in his chambers, Macrinus changes his clothes, suggesting he made Lucius wait so he could indulge in his own fashion choices. In other words, as Macrinus himself puts it, he’s all about power.

2024-11-22 16:53

Denzel Washington Should Always Have a Little Shawl

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