Representation of Ancient Roman Culture in The Film Gladiator

The film Gladiator, directed by Ridley Scott in 2000, follows the life of Roman General Maximus who is outcast as a slave by Emperor Commodus and must survive as a gladiator. To some extent, the Hollywood appropriation of historical narrative has positively influenced people's understanding of Ancient Roman culture. This is evident as Gladiator accurately depicts gladiators, their roles within Roman society as well as, the gladiatorial games and the structure of the Colosseum. Whilst Gladiator provides insight into broader historical context, limitations are present. Subsequently, the film has focused on select individuals and includes creative interpretations to fill in the gaps.

The gladiators, as portrayed in the film, benefit our knowledge and understanding of Ancient Roman culture. The equipment worn by gladiators in the film adheres to archaeological evidence. During battle, many gladiators appear to be wearing a Thracian gladiatorial helmet. This is historically accurate as these helmets were unearthed in Pompeii and believed to have been used by gladiators. The shields depicted in Gladiator also follow historical accuracy. The shield used by Maximus is surrounded by repeating patterns of gladiatorial combat. Gladiatorial shields have been excavated in Pompeii with similar size and decorated motifs. 

Gladiator accurately portrays the everyday life and cultural aspects of gladiators within Roman society. The role of gladiators in Ancient Roman society has been accurately depicted in the film. In the social hierarchy, gladiators were seen as slaves who were either criminals, war prisoners or voluntary. The treatment of gladiators as slaves in the film is shown as Emperor Commodus asks Maximus, “Slave! Who are you?” The film accurately depicts gladiators’ diets. Bone analysis of gladiators done in the Roman town of Ephesus suggests that gladiators mainly consumed wheat, barley and beans. However, samples revealed higher protein intakes, verifying that gladiators had originated from different parts of the Empire. This is supported in the film, as gladiators of varying nationalities are shown to be eating a similar vegetarian mixture. Furthermore, the idolisation of gladiators from women has been portrayed in Gladiator. Maximus is shown to be adored by female supporters at the Colosseum, who appear to be sexually allured. This is supported as ancient graffiti uncovered in a Pompeiian gladiator barracks, details this idolisation stating “Celadus, heart-throb of the girls”. Through the portrayal of gladiators’ lifestyle and role in society, Gladiator positively influences our knowledge of ancient Roman culture.

The depiction of the gladiatorial games in the film positively influences our knowledge and understanding of Ancient Roman culture. Gladiator accurately depicts the battles which gladiators would engage in, primarily with wild beasts. The film shows Maximus, whilst in combat with a veteran gladiator, fighting wild tigers. This adheres to archaeological evidence as Appendix … details gladiators fighting wild animals. The presence of animals in the arena is confirmed by Seneca, a sceptical spectator stating; “In the morning men are matched with lions and bears”. The structure of the Colosseum, which was central to Roman culture, has been depicted accurately in the film. The canopies, on the Colosseum, have been verified through archaeological study. The canopies shielded spectators from the elements in the film, and archaeologists have discovered “extruding corbels with sockets for the masts … matching holes in the cornice … coins indicating the masts”, verifying the existence of canopies. The presence of pulley-based elevators as shown in Gladiator has been confirmed. Archaeologists have uncovered “semicircular slices in the walls near the vertical channels … to leave space for revolving bars of large capstans … powered lifting and lowering of cages and platforms.” Through the depiction of gladiatorial games and the Colosseum, the film positively influences our understanding.

Whilst the validity of Gladiator is supported, the film presents limitations as a historical source. Gladiator is limited as a historical source as the narrative primarily focuses on specific individuals. The film is based on a theme of vengeance between Maximus and Emperor Commodus, rather than accurately depicting the fundamental aspects of gladiatorial battles, as well as Roman culture. Hollywood has followed this structure for dramatic purposes, as well as securing a climactic end to the film. Gladiator is also limited as a historical source as creative interpretations have been implemented to fill in the gaps. Gladiators did not always fight to the death. This suggests that, unlike the Hollywood appropriation where death is the likely result, gladiatorial matches ended without death. There were also strict rules and referees on the arena. Еhe presence of referees in gladiatorial games, whilst archaeologists suggest that “lack of multiple injuries and mutilation shows that the very strict nature of combat rules for gladiator fights”. Gladiator is not useful as a historical source as the film focuses on the relationship between select individuals and includes creative interpretations.

Gladiator has positively influenced people's knowledge and understanding of Ancient Roman culture. Gladiator has correctly interpreted Ancient Roman gladiators through the depiction of their equipment during battle. Gladiator has also correctly depicted the lifestyle role of gladiators in society through their position in the social hierarchy, diet, and the idolisation from women. The film has correctly portrayed gladiatorial games through the types of battles gladiators would engage in and features of the colosseum. However, the process of filmmaking has focussed on select individuals, and includes creative interpretations.

Gladiator, whilst provides insight into broad historical context, the reliability has been limited due to the process of filmmaking.