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Creative creations -

Oftentimes, screenwriters and filmmakers exercise creative license when it comes to recreating historical events on the silver screen, and none more so than those in Hollywood. The two ‘Gladiator’ films, directed by Ridley Scott, are prominent examples of this.

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Maximus and Marcus Aurelius -

The protagonist from the first film, Maximus (the heroic general turned gladiator), is a complete fabrication. Marcus Aurelius, however, was a real emperor and philosopher. Unlike the movie’s claim, the real Marcus died of natural causes and not through Commodus’ machinations.

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Commodus -

Commodus was a real emperor who ruled Rome, but the movie overplays his villainy. While historically eccentric, he wasn’t the pure lunatic shown in the film. His gladiatorial fights were more performances than true contests of life and death.

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Violent games -

In the Roman Empire, gladiatorial games were often bloody, but not every fight was to the death, as portrayed in the first ‘Gladiator’ film. Gladiators sometimes spared their opponents and matches could be staged to favor certain outcomes.

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Thumbs up and thumbs down -

The “thumbs down” or “thumbs up” signal used by the emperor for death in gladiatorial games is likely a modern misinterpretation. Ancient sources don’t specifically define gestures for life or death decisions, which makes the famous signal from the movie more fiction rather than historical reality.

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Rome’s architecture -

The Colosseum and Forum are beautifully recreated in the two ‘Gladiator’ films, but Rome’s real skyline was even more intricate, sprawling, and layered with history. Ancient Rome blended grandiosity with bustling daily life, not just the monumental splendor seen in the movies.

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Rome’s streets -

The clean, orderly streets of Rome seen in the films are misleading. Ancient Rome was actually a sprawling, chaotic city with noise, filth, and crowds. The reality was far messier than the polished version shown in Ridley Scott’s movies.

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Marcus Aurelius’ stoicism -

The first ‘Gladiator’ film shows Marcus Aurelius as a gentle philosopher. However, his governance was pragmatic and sometimes ruthless, balancing philosophical ideals with the harsh realities of ruling an empire.

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Gladiators as slaves -

Although the first movie focuses on enslaved gladiators, many were volunteers who sought fame and fortune through fighting. These free fighters were often professional athletes, carefully trained and motivated by prize money and public admiration.

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Commodus and his father -

In ‘Gladiator,’ Commodus secretly murders his father Marcus Aurelius (pictured) in order to ascend the throne, but this is pure fiction. Historical accounts suggest Marcus likely died of natural causes (possibly a plague) during his military campaign along the Danube frontier.

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Arena fights -

While the real Commodus did fight in the arena, contests were carefully staged to ensure his safety. Unlike the life-and-death battles shown in the movie, real combats involving the emperor were symbolic and entirely risk-free.

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Commodus’ rule -

The first ‘Gladiator’ movie suggests that Commodus’ reign was short-lived and chaotic. In reality, he ruled for over a decade, during which Rome experienced a mix of stability and eccentricity, with gradual decline rather than instant turmoil.

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Commodus’ death -

The first film’s antagonist, Commodus, dies after being stabbed by Maximus, but this is historically inaccurate. Commodus did die in a conspiracy, but not in a dramatic gladiatorial duel. In 192 CE, he was assassinated by his wrestling partner, Narcissus in a plot involving senators and other court officials.

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Rise to power -

In the first film, Maximus’ rise from an enslaved gladiator to a figure of political influence is pure Hollywood. Even the most celebrated gladiators rarely transcended their status as performers, kept far from the political sphere.

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Rome’s economy -

The first ‘Gladiator’ film overlooks Rome’s heavy dependence on slave labor, which was a critical component of its economy. In truth, enslaved individuals worked in households, farms, mines, and even gladiatorial schools, to sustain the empire’s vast infrastructure.

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The Colosseum -

In both of Ridley Scott’s movies, characters refer to the grand amphitheater as the Colosseum, but in ancient Rome, it was actually known as the Flavian Amphitheater. The term “Colosseum” came later, likely inspired by a nearby colossal statue of Nero, which doesn’t appear in the films.

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Rome’s justice system -

The first film shows Maximus as a victim of chaotic justice, but Rome’s legal system was far more structured. Even for enemies of the state, trials followed procedures, although outcomes were oftentimes in favor of those in power.

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Rome’s diversity -

In both of Ridley Scott’s ‘Gladiator’ films, the depiction of Rome’s population is homogeneously Caucasian, but in reality, the ancient city was one of the most diverse of its time. People from across the empire called Rome home and contributed to its culture. ‘Gladiator II’ features some of the same historical inaccuracies.

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Macrinus' portrayal -

In ‘Gladiator II,’ Denzel Washington's character, Macrinus, is depicted as a former slave and gladiator trainer aspiring to control Rome. Historically, Macrinus was a praetorian prefect of North African descent who became emperor after orchestrating Emperor Caracalla's assassination. He was never enslaved nor involved in gladiatorial training.

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Naval battles -

The second film showcases elaborate naval reenactments within the Colosseum, a spectacle that did occur in ancient Rome. However, the inclusion of sharks in these scenes is a fictional embellishment without historical evidence.

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Gladiators riding rhinoceroses -

Scenes featuring gladiators mounted on rhinoceroses are dramatic, but not supported by historical records. While exotic animals were present in Roman games, there is no evidence of gladiators riding them into combat.

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Exotic animal spectacles -

Interestingly, Romans did feature exotic animals, such as lions and elephants, in the Colosseum and the Circus Maximus. This was conducted to showcase the empire's reach. However, certain portrayals in the film, like riding rhinoceroses, are fictional.

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Caracalla and Geta -

The film portrays co-emperors Caracalla and Geta (pictured) as twins, which is incorrect. They were brothers, born several years apart. Additionally, certain characterizations, such as Caracalla naming a pet monkey as consul, are fictional.

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Lucius Verus' lineage -

The protagonist, Lucius Verus Aurelius, is presented as the son of Maximus and Lucilla. In reality, Lucilla was married to Lucius Verus, co-emperor with Marcus Aurelius, and their son did not survive to adulthood.

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Printed newspapers -

Strangely, the second film also includes scenes where characters read printed newspapers, which is a technology that did not exist in ancient Rome. Romans relied on handwritten news bulletins, which makes this portrayal historically inaccurate.

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Battle of Salamis -

‘Gladiator II’ is set years after the first film in the 3rd century CE. Prior to a reenacted naval battle in the Colosseum, an announcer proclaims that the gladiators would reenact the Battle of Salamis between the Trojans and the Persians. In reality, the battle took place in 480 BCE, and no Trojans were involved.

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Siege of Numidian city -

At the beginning of ‘Gladiator II,’ the Roman army besieges a Numidian city and takes slaves back to Rome. In reality, the province of Numidia, located in North Africa, was already part of the Roman Empire for centuries by that time, which makes such a siege unlikely.

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Gladiatorial branding -

The movie also depicts gladiators being branded, which was actually a practice historically reserved for runaway slaves, not gladiators. This portrayal stems from a misinterpretation of ancient texts.

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Revolt of gladiators -

The film's depiction of a gladiator revolt is reminiscent of true historical uprisings during the Roman Empire, such as the Spartacus' Rebellion, though the specific events in the movie are fictionalized.

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Artistic liberties -

Director Ridley Scott has acknowledged that he has often prioritized storytelling over strict historical accuracy. His films intend to create an engaging cinematic experience rather than serve as a documentary.

Sources: (Smithsonian Magazine) (The Independent) (Vox) (People.com) (Vulture) (The Lighthouse) (Time Magazine)

See also: What if the Roman Empire never fell?

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