GLADIATOR AND HISTORY

What drives me to write this essay is his commentary on the DVD version of the film. In the narrated version of the film (I just love those cute things that DVDs can do.), he states that history is conjecture and is frequently re - written. He continues by stating that the experts on the film were supportive. Collectively, they told Scott that few liberties had been taken in the production of the film. His response to that was, "How do you know?" He stated that the filmmaker has to jump back in time in his own imagination. That is what is most important.

He furthers his argument in that practicality and logic should run the decisions by the Art Department and the Wardrobe. He concludes his argument by stating that Romans did not used cigarette lighter to light their fire arrows. Therefore, he is justified in using a pit of burning oil for the soldiers to light their arrows. Historians say that the Romans may not have done this. Scott replies, "They bloody well do now."

Certainly GLADIATOR is one of the most successful films of 2000; and you can't argue with success. Fortunately for Scott he achieved a film with an authentic historical feel to it. However, using his logic the film could just as well been an abysmal exploitive "sand and sandal" epic better suited to the 1950's. As I have stated in my earlier essays, as a military technical advisor I try to get accuracy but as a writer I try to get "close" enough with accuracy coming in second to story and characterization. Directors or, for that matter, actors must walk a thin line between historical accuracy and necessity.

Oliver Reed had a good perspective on this subject. In a short interview filmed during the production of GLADIATOR, he stated that he had researched the hair styles of Romans. He had gone to the original sources, the statues. Finally deciding that there really was no consistency in the Roman hair styles, he chose just to grow it long and the director could have it clipped as necessary. He also stated that the actor is only as good as the script.

As a producer friend said, "It's the story, stupid." A good story, well presented, can transcend historical irregularities. One can only hope that the director/producer/et. al. walks that narrow line between accuracy and exploitation with a sense of caution.

In memoriam: Oliver

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