As a seasoned film critic with over three decades of experience under my belt, I must say that Ridley Scott has outdone himself yet again with his latest masterpiece, “Gladiator 2”. The intricate plot twists, the stunning visual effects, and the breathtaking action sequences are truly second to none.
☢️ WARNING: This narrative explores significant story developments, including the climax of “Gladiator II,” now showing in cinemas.
All hail Macrinus!
In a realm filled with cunning political maneuvers, power struggles, and personal ambition, Denzel Washington‘s character, Macrinus, makes his grand entrance in Ridley Scott’s “Gladiator II” surrounded by soldiers and guards, under the shelter of an opulent canopy. His air is rich with wealth and dominance. The role has garnered much enthusiasm among fans and critics alike, fueling a growing buzz for Washington to potentially win an Oscar.
In the continuation of Scott’s initial movie, titled “Gladiator,” we find ourselves 16 years later. This sequel follows the tale of Lucius, portrayed by Paul Mescal, whose hometown is brutally invaded by Roman soldiers. The invasion results in a heart-wrenching sequence of events as Lucius’ wife meets an untimely end, and he himself is taken captive as a prisoner.
In the narrative, Macrinus, a prosperous merchant, comes across Lucius and makes him his possession. However, the spectators are initially perplexed about Macrinus and his objectives. Despite being evident that he wields significant influence in these events, it’s uncertain whether his actions stem from kindness or malice. Scott and his regular cohort of collaborators subtly reveal Macrinus’ character by scattering hints to his true disposition.
Scott discusses Macrinus’ background and Washington’s character, who was captured in war, brought to Rome, and forced to fight in the arena. However, “Washington displayed great skill as a gladiator and ultimately managed to secure his freedom,” explains Scott. This could have been achieved, according to Scott, by obtaining employment as a supplier for the Roman armies.
Emperor Macrinus travels beneath a protective canopy, and cinematographer John Mathieson comments, “He’s quite striking. He’s extravagant, flamboyant, and clearly not from Rome, yet he thrives. There’s an undercurrent of mischief, deceit, and it shows. Despite his shady dealings, he is surprisingly courteous and considerate, even towards those who owe him.
Harry Gregson-Williams, taking over from Hans Zimmer for the film’s music, reflected this through his composition: “We find ourselves drawn to him because of his cool persona, yet he’s a rather elusive character.” In crafting Macrinus’ musical theme, he leaned on the electric baritone violin and electric cello to subtly suggest his nature. “I designed a motif that is evasive and tends to move around subtly.
Thematically, Macrinus’ works convey a sense of “subtly unsettling yet bold evolution,” mirroring his cunning nature and ambitious maneuvers within the corridors of power in ancient Rome.
https://open.spotify.com/watch?v=track/4qPRM4Kb9vnUObLvP4mQkw
Arthur Max, the production designer who worked on the original “Gladiator” movie, realized that Macrinus required a distinct visual theme. In discussions with his colleagues from various departments, art served as a significant source of inspiration for Macrinus, particularly the work of Jean-Léon Gérôme. His 1872 painting “Pollice Verso” and other pieces by this artist greatly influenced Macrinus’ vision.
Max mentions that the character originates from the polytheistic pagan society of ancient Rome, where he belongs, and they incorporated deities from the animal realm. We chose to assign him two symbols and scattered these across his cosmos; one symbol was the wolf, while the other was the serpent.
On the banners that his soldiers displayed, there were images of intertwined snakes, suggesting the true character of this individual. Similarly, the outline of wolves was visible along the edge of his chariot, a symbol that further revealed his genuine essence.
The opulence was evident in Washington’s costumes, as he sported lavish fabrics across his 15 tunics for each wardrobe change. He worked closely with costume designer Janty Yates to create his distinctive look. At one stage, a concept emerged about him wearing a headpiece, but neither Scott nor Washington favored it, so the idea was swiftly abandoned. Yates commented, “However, Denzel did sport the earrings, which added a slightly unbalanced feel to him. It was genius.” The earrings were clip-ons since Washington didn’t have pierced ears.
In the outskirts’ colosseum where Macrinus is accompanied by baboons, his attire exudes understated grandeur. However, when he moves to Rome, he occupies the imperial box sharing space with the emperors. Yates opted for authentic hand-embroidered drapes, among which a striking green one adorned with precious stones stands out. Yates mentioned that this piece was purchased from a Milanese merchant specializing in antique Indian fabrics and needlework. Additionally, he sported a hint of leopard print in his wardrobe.
Scott mentioned that Washington selected his silks himself, and it was his own thought for Scott to alter his fabric choices. “He made that decision on his own. That’s just Denzel, always coming up with something new. I found that quite entertaining.
However, the makeup choice also reflected Washington’s character. Makeup artist Jana Carboni aimed to enhance rather than hinder Washington’s acting. She explained, “We opted for a minimalistic yet impactful look. Our goal was to make him appear well-groomed and somewhat vain. He didn’t need to stand out because he needed to blend in seamlessly and fit every setting. Simplicity was key as he would also be playing with his jewelry.” The only modification made was to his hair, “I suggested we emphasize the silvery-gray tones in your hair, and he was thrilled by the idea.
In contrast to Mescal’s Lucius who dreams of and strives for an improved Rome, Macrinus harbors different ambitions: a ruthless pursuit of vengeance. The twin emperors, portrayed by Joseph Quinn and Fred Hechinger, pose obstacles to his designs.
“He’s a very sinister mercurial character,” says cinematographer John Mathieson.
According to Scott, Macrinus had long desired the throne, and as he spent more time with the emperors, the throne seemed increasingly practical. He may have thought, “I’ll wait for one of the twins to pass away, as I can’t do anything else without it being too obvious, but then opportunities began to present themselves to him as a potential course of action.
Mathieson ensured to spot and apprehend Macrinus, even when he was concealed or hiding in the dark. “I’d always leave a glimmer of light in his eyes, those eyes that seemed to pass right through a person. I took care to track him down.
When the twins are born, Scott remarks that Macrinus has discovered an opportunity and he swiftly takes advantage of it, saying, “I can eliminate one of these.
Yates adorned him in a white silk jacquard material, delicately edged with gold, intending to maintain an air of elegant simplicity. She elaborated, “At this stage, he was practically on par with the emperors, so we aimed for an appearance that suggested a certain innocence.
Contrary to the unexpected twist, he wasn’t the joker, instead, he became the executioner, decapitating one of them in that instant. Indeed, Macrinus is the sinister antagonist portrayed in the movie, yet it falls upon Lucius to bring order back to Rome, overthrow him, and reclaim its power.
In the grand finale, Yates adorned me in a magnificent peacock-blue tunic. Subsequently, I squared off against Lucius in a climactic battle, which unfolded on a river meticulously constructed by Max and his crew. Regrettably, my story didn’t have a happy ending. Lucius struck me down with a swift sword blow, severing my arm, followed by another fatal strike that ended my life.
According to Scott, he firmly believes that person deserved such an ending. Absolutely, he was a terrible individual. There was still some fighter spirit left in him, making him a formidable warrior. This aspect is evident in the character of Paul, as he often resorts to underhanded tactics when fighting.
In Scott’s analogy, the last battle was like a street brawl, implying it became gritty and unsavory. Given the situation, that’s exactly what Lucius needed to do. “One of them had no choice but to perish.
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2024-11-23 20:51