International
Explore five Ridley Scott masterpieces before Napoleon’s arrival
Mumbai: Ridley Scott, the visionary director behind iconic films, has left an indelible mark on the world of cinema. His ability to seamlessly blend compelling narratives with stunning visuals has solidified his place as a cinematic maestro. Fans eagerly await his upcoming project, Napoleon – a film about the rise and fall of the French Emperor Napoleon Bonaparte and his relentless journey to power – starring Joaquin Phoenix all set to release on 24 November 2023 in cinemas including your nearest PVR INOX outlets. Ahead of the film’s release, here are five Ridley Scott movies you should watch if you haven’t already
Gladiator (2000)
No exploration of Ridley Scott’s filmography would be complete without a journey to ancient Rome in Gladiator. Released in 2000, this epic historical drama follows the story of Maximus Decimus Meridius, a betrayed general seeking revenge against the corrupt emperor who murdered his family. Russell Crowe’s portrayal of Maximus earned him an Academy Award for Best Actor, and the film itself claimed five Oscars, including Best Picture and Best Director for Ridley Scott. Gladiator is a masterclass in storytelling, character development, and visual spectacle. The intense gladiatorial combat scenes, combined with a powerful score by Hans Zimmer, create an immersive cinematic experience.
American Gangster (2007)
Transitioning from ancient Rome to 1970s Harlem, American Gangster showcases Ridley Scott’s versatility as a director. Released in 2007, this crime drama stars Denzel Washington as Frank Lucas, a real-life drug lord, and Russell Crowe as Richie Roberts, the detective determined to bring him down. The film is a gripping exploration of crime, power, and morality. Ridley Scott’s keen directorial eye captures the essence of the era, and the dynamic performances by Washington and Crowe elevate the narrative.
Blade Runner (1982)
Blade Runner is a groundbreaking science fiction classic that immerses viewers in a dystopian future where humanoid robots, known as replicants, struggle for autonomy. Harrison Ford takes on the role of Rick Deckard, a blade runner tasked with hunting down rogue replicants. Ridley Scott’s visionary direction, coupled with the film’s neo-noir aesthetic, has made Blade Runner a landmark in science fiction cinema. The film explores themes of identity, humanity, and morality, showcasing Scott’s ability to weave philosophical depth into visually stunning narratives.
The Martian (2015)
Ridley Scott’s directorial range extends to the vastness of space in The Martian. Released in 2015, this science fiction survival film is based on Andy Weir’s novel of the same name. Starring Matt Damon as Mark Watney, an astronaut stranded on Mars, the film explores the resilience of the human spirit and the power of ingenuity in the face of adversity. The Martian is a compelling blend of drama, humor, and scientific intrigue. Ridley Scott’s direction, coupled with Matt Damon’s charismatic performance, makes for an engaging cinematic experience.
House of Gucci (2021)
Ridley Scott’s latest venture into the world of true crime and high fashion, House of Gucci, is a compelling addition to his diverse filmography. Released in 2021, this biographical crime drama stars Lady Gaga as Patrizia Reggiani, the ex-wife of Maurizio Gucci, played by Adam Driver. The film chronicles the scandalous events leading to Maurizio’s murder and the subsequent trial of Reggiani. House of Gucci showcases Ridley Scott’s ability to craft gripping narratives based on real-life events. The film’s star-studded cast, including captivating performances by Lady Gaga, Al Pacino, Jared Leto and Adam Driver, adds depth to the compelling storytelling.
And here’s the film that inspired this list:
Napoleon (2023)
Napoleon is a sweeping epic that chronicles the life of the legendary French military and political leader, Napoleon Bonaparte. Starring Joaquin Phoenix in the titular role, the film delves into the complexities of Napoleon’s rise to power, his military conquests, and the intricate web of alliances and conflicts that defined his era. With Scott’s signature visual flair and meticulous attention to historical detail, Napoleon promises to be a captivating journey through one of history’s most enigmatic figures. Joaquin Phoenix’s portrayal is anticipated to bring depth and nuance to the character, making this cinematic exploration of Napoleon’s life a must-watch for history enthusiasts and film lovers alike.
If you’re a devoted admirer of Ridley Scott’s cinematic masterpieces and possess a genuine passion for historical narratives, be sure not to miss the eagerly awaited premiere of Napoleon this Friday at your closest PVR INOX outlets.
LOS ANGELES: Acting has never been an easy profession, but in recent years, it has acquired a new existential anxiety. Artificial intelligence can now mimic faces, clone voices and, in theory at least, speak any language it is fed. The fear that actors may soon be replaced by algorithms no longer belongs exclusively to science fiction. And yet, despite the rise of digital inauthenticity, some performers remain stubbornly resistant to replacement. The reason is not celebrity, nor even talent. It is language.
On paper, this should not be a problem. AI can translate. It can imitate accents. It can string together grammatically correct sentences in dozens of languages. But acting, inconveniently, is not about grammatical correctness. It is about meaning, and meaning is where AI still falters.
Machine translation offers a cautionary tale. Google Translate, now powered by neural AI, has improved markedly since its debut in 2006. It can manage menus, emails and airport signage with impressive efficiency. What it struggles with, however, are the moments that matter most: idioms, metaphors, irony, and cultural shorthand. Ask it to translate a joke, a threat disguised as politeness, or a line heavy with emotional subtext, and it begins to unravel. Acting lives precisely in those gaps.
This matters because film language is rarely literal. Scripts, particularly in independent cinema, rely on figurative speech and symbolism to convey what characters cannot say outright. Pedro Almodóvar’s Volver is a useful example. The film’s recurring use of red operates on multiple levels: grief, desire, repression, liberation, and memory. These meanings are inseparable from the Spanish cultural context and emotional cadence. A translation may convey the words, but not the weight they carry. An AI-generated performance might replicate the sound, but not the sense.
This is where multilingual actors gain their edge. Performers such as Penélope Cruz and Sofía Vergara do not simply switch between languages; they move between cultural logics. Their fluency allows them to inhabit characters without flattening them for international consumption. Language, for them, is not an accessory but a structuring force.
Beyond European cinema, this becomes even more pronounced. Languages such as Hindi, Arabic and Mandarin are spoken by hundreds of millions of people and underpin vast cinematic traditions. As global audiences grow more interconnected, the demand for authenticity increases rather than diminishes. Viewers can tell when a performance has been filtered through approximation. Subtle errors, misplaced emphasis, and an unnatural rhythm break the illusion.
There is also a practical dimension. Multilingualism expands opportunity. Sofía Vergara has spoken openly about how learning English enabled her to work beyond Colombia and access Hollywood roles. But this movement is not a one-way export of talent into English-speaking cinema. Multilingual actors carry stories, styles and sensibilities back with them, enriching multiple industries at once.
Cinema has always thrived on such hybridity. Denzel Washington’s performances, for instance, draw on the cultural realities of growing up African American in the United States, while also reflecting stylistic influences from classic Hollywood and Westerns. His work demonstrates how identity and influence intersect on screen. Multilingual actors extend this intersection further, embodying multiple cultural frameworks simultaneously.
At times, linguistic authenticity is not merely artistic but ethical. Films that confront historical trauma, such as Schindler’s List, rely on language to anchor their moral seriousness. When Jewish actors perform in German, the choice is not incidental. Language becomes a site of memory and confrontation. It is difficult to imagine an automated voice carrying that responsibility without hollowing it out.
This is why claims that AI heralds the death of language miss the point. Language is not just a delivery system for information. It is a repository of history, humour, power and pain. Fluency is not only about knowing what to say, but when to hesitate, when to understate, and when to let silence do the work. These are not technical problems waiting to be solved; they are human instincts shaped by lived experience.
AI may one day improve its grasp of metaphor and nuance. It may even learn to sound convincing. But acting is not about sounding convincing; it is about being convincing. Until algorithms can acquire memory, cultural inheritance and emotional intuition, multilingual actors will remain irreplaceable. AI may learn to speak. But it cannot yet learn to mean.
In an industry increasingly tempted by shortcuts, language remains stubbornly resistant to automation. And for actors who can move between worlds, linguistic, cultural, and emotional, that resistance is not a weakness, but a quiet, enduring advantage.
