The 2000 historical drama Gladiator features interactions between people of different identities and social classes. The movie illustrates many topics we have discussed in class related to power dynamics explained by Hegel and Spivak. Gladiator’s plot demonstrates how easily injustice can be brought about by figures who inherit power but do not possess a strong, respectable character as seen in Hegel’s idea of the “Master”, where the master’s fundamental nature thwarts their capability to realize and transcend their own reality.
Within Gladiator, the current emperor, Marcus Aurelius, tries to restore Rome’s prior glory and republic by selecting General Maximus Meridius to succeed him in place of his biological son, Commodus. When Commodus discovers his father’s plan, he kills Marcus, orders the arrest of Maximus, and orders the killing of Maximus’ wife and son. Commodus is not a legatus, he carries a very weak disposition, and does not display much care for Rome. The control Commodus demands to have over situations highlights his unbridled fears and insecurities, where Maximus is one of Commodus’ central fears and eventually becomes his primary fear. Maximus escapes captivity, traverses a desert, is captured again, and is trained to be a gladiator as a slave. Maximus also reflects Hegel’s characterization of the “Slave” by gaining popularity, glory, and wisdom through his work over time.
In the background, the deterioration of the fictional Roman Empire portrayed under Commodus’ rule is an important part of understanding how Maximus ends up gaining power over Commodus through the relationship he establishes with the people. Maximus remains earnestly remembered in contrast to how people react to Commodus once they realize his true personality and motivations. Spivak’s hierarchy and illustration of how the “Subject group” silences the lower ranking groups directly relates to the lack of communication, secrets, and lack of mobility Maximus has throughout most of the movie. The movie would have been no longer than a few minutes if Maximus had the resources to prove he was falsely accused.
I think the writers—David Franzoni, John Logan, and William Nicholson—intended to demonstrate how character is ultimately more powerful than agency. How Maximus treated the army he managed, the friends he made as a slave, and how he catered to his fans as a gladiator outweighs the jealousy and acts of violence committed by Commodus. How one treats people is more noticeable than what they own or what can be controlled in their favor. I would recommend Gladiator to anyone in class who wants to view an example of societal injustices connected to the ideas expressed by Hegel, Spivak, Ahmad, and additional figures we have studied throughout the semester who examine the relationship between power and identity.
