The Fall of the Roman Empire (1964)

A Lavish Epic at the Twilight of an Era

Introduction

The Fall of the Roman Empire is one of the grandest historical epics ever put to film—an ambitious, lavish, and intellectually inclined spectacle from director Anthony Mann. With sprawling sets, an ensemble of major stars, and a philosophical underpinning, the film sought to combine the grandeur of Ben-Hur with the gravitas of a Shakespearean tragedy.

Although a critical and commercial disappointment upon its release, its reputation has grown over time. Today, it is appreciated as a noble, flawed, and visually stunning film that marked both the height and decline of the Hollywood epic era.

Plot Summary

The film is set during the reign of Roman Emperor Marcus Aurelius (Alec Guinness), who hopes to secure peace across the empire by appointing a worthy successor—not his son Commodus, but a trusted general, Livius (Stephen Boyd).

Livius, however, is torn between duty, his love for Aurelius' daughter Lucilla (Sophia Loren), and his friendship with Commodus (Christopher Plummer). When Marcus Aurelius dies under suspicious circumstances, Commodus assumes the throne, beginning a reign marked by vanity, decadence, and eventual tyranny.

The empire’s moral and political decay mirrors the personal tragedies of the characters, leading to a climactic confrontation in a snow-covered arena between Livius and Commodus, as Rome’s fate hangs in the balance.

Direction and Visuals

Anthony Mann, known primarily for psychological westerns like Winchester ’73 and El Cid, brings a mature, measured tone to the proceedings. Mann resists the urge for constant action and instead leans into thematic depth, focusing on the fragility of power, the corruption of ideals, and the inevitability of decline.

Production Design

One of the film’s greatest assets is its production design. The recreation of the Roman Forum (built in Spain) was, at the time, the largest set ever constructed. Combined with Robert Krasker’s rich cinematography and Dimitri Tiomkin’s majestic score, the visuals are both awe-inspiring and melancholic.

The film’s colour palette and use of wide-angle compositions evoke a sense of crumbling grandeur—fitting for a story about decline and lost ideals.

Performances

Stephen Boyd as Livius

Boyd gives a restrained and morally conflicted performance. While less dynamic than a typical epic hero, Livius is thoughtfully portrayed as a man struggling with his conscience. Boyd’s charisma, however, is somewhat muted, and his character is written in a stoic, emotionally repressed mould.

Sophia Loren as Lucilla

Loren brings star power and emotional weight to Lucilla, though the role is underwritten. Her chemistry with Boyd is serviceable, but their romance lacks the dramatic urgency the script seems to demand.

Christopher Plummer as Commodus

Plummer steals the film as Commodus, portraying him with serpentine charm, theatrical vanity, and dangerous instability. His performance is both camp and Shakespearean—a precursor to Joaquin Phoenix’s Commodus in Gladiator (2000), which owes much to this portrayal.

Alec Guinness as Marcus Aurelius

Guinness is quietly brilliant as the wise but world-weary emperor. His philosophical scenes provide the film’s intellectual heart, anchoring the early act with dignity and gravitas.

Supporting Cast

James Mason is subtle and effective as the moral advisor Timonides.

Omar Sharif has a brief but impactful role as Sohaemus, King of Armenia.

Mel Ferrer adds bureaucratic tension as Cleander, a political manipulator.

Themes and Intellectual Ambitions

Unlike many epics of its time, The Fall of the Roman Empire is less concerned with triumphant action than with moral decay and political fatalism. It explores:

The failure of leadership in the face of ambition and ego

The collapse of institutions when ideals are abandoned

The tension between philosophy and power, exemplified by Marcus Aurelius’ stoicism and Commodus’ hedonism

Love vs. duty, particularly in the case of Livius and Lucilla

In its more contemplative moments, the film contemplates the very idea of empire—its grandeur, its moral compromises, and its inevitable disintegration.

Comparisons and Legacy

While initially overshadowed by better-received epics like Ben-Hur (1959) and Spartacus (1960), the film has found a more appreciative audience in later decades.

Its influence is notably felt in Ridley Scott’s Gladiator (2000), which borrows many of the same characters and plot beats, albeit with a more emotional and action-driven style. In many ways, The Fall of the Roman Empire is Gladiator’s philosophical predecessor.

Criticisms

Despite its strengths, the film is not without flaws:

Pacing: At over 3 hours, the film’s methodical tempo can feel plodding, particularly for modern viewers expecting more action.

Emotionally remote: The characters, though intelligent and well-performed, often seem more symbolic than human, making emotional investment difficult.

Narration overload: The film begins and ends with heavy-handed narration that sometimes undermines the storytelling.

At the box office, the film was a notorious flop, contributing to the decline of large-scale Hollywood epics until their resurgence decades later.

Restoration and Home Media

A meticulously restored version of the film has been released on Blu-ray and DVD, showcasing its visual and aural splendour. This has helped spark critical reappraisal and allowed contemporary audiences to appreciate the film in its intended grandeur.

Conclusion

The Fall of the Roman Empire is a richly ambitious, visually opulent epic that dares to be cerebral in a genre often defined by spectacle. It may not have the kinetic energy of later historical dramas, but its thoughtfulness, striking imagery, and Christopher Plummer’s magnetic turn as Commodus make it a fascinating, if flawed, cinematic experience.

For viewers with patience and an appreciation for historical drama that ponders as much as it entertains, this film remains a significant, even haunting, meditation on power and its inevitable collapse.

A visually stunning and thematically rich epic, weighed down by slow pacing but elevated by commanding performances and intellectual ambition.