Ridley Scott’s ambitious historical film, which has amassed a staggering $458 million at the box office, has drawn the ire of historians due to notable inaccuracies. Renowned for his versatility as a filmmaker, Scott has successfully navigated diverse genres, producing iconic science fiction epics like Blade Runner and Alien, alongside historical narratives such as Gladiator and his recent offering, Gladiator II.
Despite their commercial success, Scott’s historical projects often elicit polarizing feedback from critics and historians alike. Films such as the poorly received Napoleon, featuring Joaquin Phoenix, have come under scrutiny for historical liberties, yet Gladiator, which earned critical acclaim and significant box office returns, is not immune to similar critiques. Indeed, even Scott’s latest installment is being examined with a discerning eye.
The Historical Oversight in Gladiator II’s Opening Sequence
Unconventional Ship Designs in the Naval Battle
Gladiator II prominently features Paul Mescal as Lucius, the heir of Russell Crowe’s Maximus from the original 2000 film, which itself was a box office sensation, grossing over $451 million globally. Remarkably, the sequel has outperformed its predecessor in recent weeks despite strong competition from Wicked, which premiered concurrently.
In a recent analysis on Insider, historian Roel Konijnendijk critiques the historical authenticity of Gladiator II’s opening naval confrontation, awarding the film a score of 5 out of 10. While he commends the film for featuring historically accurate Roman ship designs, Konijnendijk identifies a few pivotal inaccuracies, notably the inclusion of “sails”on ships that should predominantly operate on “rowing power.”He also highlights glaringly anachronistic elements like the use of “fireballs” during naval warfare.
They are actually based on ancient Roman ship designs, very clear. I mean they’re a little bit short and stubby, so they may have to be like liburnian, which would make sense for the Imperial period…It’s really cool idea that they really did their homework on what these ships are supposed to look like. It’s just a really weird feature that they have their masts and sails still on the decks are cleared for battle. They do not have their masts on them, and every in a naval battle in the ancient world moves on rowing power. There are not sailing warships. This is just like extra weight that destabilizes and slows down the ship.
Historically, it doesn’t make sense Numidia had been subjected centuries earlier, but it’s very interesting to see a city built on the sea, like the defenses go right up to the water and you actually see in this scene…And then, the catapults start throwing fireballs, and I’m like, “Ridley, we talked about this.”Catapults are always throwing fireballs in these movies. They historically didn’t. They would never do that. Why would you do that. You’re going to set your own ships on fire.
Implications for Gladiator II
Ridley Scott’s Creative Liberties in Gladiator II
Konijnendijk’s critical observations serve as a lens through which we can view the intersection of fiction and historical narrative. For instance, while it is improbable that Lucius would remove his helmet during confrontation to reveal his identity, such actions are pivotal for cinematic storytelling. Likewise, while evidence for gladiators riding rhinos into the arena remains absent, the narrative choice speaks to creative storytelling freedom.
Historically, Scott has faced backlash for his artistic license with historical narratives. His recent film Napoleon garnered negative reviews from historians, who he notably rebuffed with the comment to “get a life,”emphasizing that “there’s a lot of imagination”within history. In Gladiator II, Lucius’ strategy of tossing sand to disorient the rhino he faces is a nod to his father’s clever tactics, although surviving such an encounter is historically unlikely; however, documented instances exist where individuals have narrowly avoided fatal accidents.
Source: Insider/YouTube
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