After the lavish dramas of Tudor England, the vibrant and tumultuous backdrop of ancient Rome beckons content creators with its promise of grand spectacle and a deep well of narratives. Among these tales, William Wyler’s Ben-Hur remains a gold standard, an exquisite blend of friendship turning to rivalry, grand redemption arcs, and its incomparable eleven-minute chariot race. The heart-thumping scenes where the only sounds are the thundering hooves and the whistle of the air as the riders navigate tight turns, never fail to impress and excite.
Enter Roland Emmerich, a master of disaster known for delivering jaw-dropping spectacles like Independence Day and 2012. Given his penchant for grandiose storytelling, Emmerich seemed an ideal candidate to helm a series set in ancient Rome, particularly an adaptation of Daniel P. Mannix’s Those About to Die. Mannix’s book, a non-fiction account of the history of the games, despite playing fast and loose with historical facts, is enthralling and deeply engaging. It also served as an inspiration for Ridley Scott’s Gladiator, whose much-anticipated sequel is coming in November 2024.
As the saying goes, “those about to die, salute you,” words uttered by gladiators to Caesar before facing mortal combat. This iconic phrase headlines the series, suggesting a tale of epic proportions worthy of its source material. Yet, the show stumbles into a realm of mediocrity, mired in distractions and pop-culture references that further dilute its impact.
Anthony Hopkins steps into the role of Emperor Vespasian, ruling with a twinkle-eyed gravitas. His sons, the valiant warrior general Titus (Tom Hughes) and the shrewd politician Domitian (Jojo Macari), navigate the complexities of keeping the empire steady amidst grain shortages and civil unrest. To placate the masses, grand games are organized in the Coliseum, drawing a variety of stakeholders, from patricians to betting house operators, gladiators, trainers, charioteers, medics, stable boys, and slaves.
Iwan Rheon plays Tenax, a man who grew up on the streets and mastered the dark side of the games, fixing whatever needs attention—races, games, and even meddlesome senators. There are numerous threads within this tapestry of intrigue and ambition. The power struggle within the Imperial family looms large, as does the rivalry among four existing chariot factions. Tenax, ever the disruptor, introduces a fifth faction with Scorpus (Dimitri Leonidas), a star charioteer.
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Sara Martins-Court portrays Numidian Cala, whose primary goal is to rescue her daughters Jula (Alicia Edogamhe) and Aura (Kyshan Wilson), sold into slavery. Cala finds work with Tenax, seeking any opportunity to secure her daughters’ freedom. Jula’s plight takes her to the household of Blue faction leader Marsus (Rupert Penry-Jones) and his wife Antonia (Gabriella Pession). Tenax sees this as an opportunity for espionage. Meanwhile, Cala’s son, Kwame (Moe Hashim), finds himself sold as a gladiator, living amongst his fellow combatants and engaging in a life where survival is day-to-day and sentimental exchanges are a rare commodity.
The show is laden with characters and subplots, from the internal power dynamics of the Empire to cunning strategies within the charioteer factions, spy games, and emotional family sagas. Despite the rich narrative potential, the series flounders under the weight of its ambition.
One glaring issue is the stilted and wooden dialogue, which often sounds more rigid than the swords brandished by the characters. Gratuitous scenes of sex and violence abound, with voyeuristic sequences that add nothing of substance—one example being a brothel raid searching for the legendary “man with the scar,” leading to multiple extended scenes of moaning couplings. These elements, combined with undeniably cardboard characters, glaring historical inaccuracies, poor acting—even from the venerable Anthony Hopkins—and plot holes the size of the Coliseum itself, make for a less-than-coherent viewing experience.
The truly disappointing factor, however, is Emmerich’s failure to deliver the spectacle his name is synonymous with. The games, chariot races, and gladiatorial battles become monotonous and repetitive, lacking the adrenaline-pumping thrill expected from such historic recreations. By the time the climatic moments arrive, featuring an amphitheatre flood and the release of crocodiles upon treacherous senators, the audience is likely more exhausted than excited. Even a disgruntled hippopotamus fails to stir interest.
Ultimately, Those About to Die is a missed opportunity. Despite the heavyweights involved in its creation and a source material brimming with potential, the series collapses under its unwieldy narrative and lackluster execution. Currently streaming on Amazon Prime Video, the show leaves viewers longing for the genuine excitement of Wyler’s Ben-Hur and Scott’s Gladiator.
World cinema / English cinema / Television
