The actor was the star of Sir Ridley Scott's 2000 epic, which raked in more than $450 million (£300 million) at the global box office and won five Oscars.
But Crowe was left fuming when he discovered assistants working on the film were receiving paltry wages - and allegedly threatened producer Branko Lustig with violence unless the issue was resolved.
In Nicole LaPorte's book The Men Who Would Be King: An Almost Epic Tale of Moguls, Movies, and a Company called DreamWorks, Lustig alleges Crowe told him, "You motherf**ker. I will kill you with my bare hands."
And the threat left Lustig so shaken, he considered calling DreamWorks boss Steven Spielberg to resign from the project.
He adds, "(I said,) 'Steven. I'm leaving. Russell wants to kill me. I'm leaving.'"
Crowe's spokesperson says of the claims, "I've been told that (online retailer) Amazon already has the book discounted. Go figure."
LaPorte's book goes on sale next month (May10).
Set in late-‘60s/early-‘70s Harlem Frank Lucas (Denzel Washington) is a relative nobody an underling driver existing well beneath his gangster mentor Bumpy Johnson (Clarence Williams III). But when Bumpy dies that all changes. Likewise street cop Richie Roberts (Russell Crowe) is small-time best known for having turned over a boatload of found cash out of the goodness of his heart. But in a way his status also begins to ascend around the time of Bumpy’s death. And so Lucas and Roberts both quickly rising through the ranks of their respective law-breaking and abiding hierarchies are on a collision course—each without the knowledge the other even existed. Frank doesn’t waste any time asserting himself once Bumpy dies and he will go on to become the only kind of drug peddler with a shot at staying power: opportunistic ruthless and not one to consume his own product. Lucas’ get-rich-quick scheme of importing Vietnamese heroin via U.S. soldiers’ caskets eliminates the middleman and nets him millions. But as is always the case one lapse in vigilance puts him at risk and Roberts is there waiting. Behold moviegoers the mother lode of acting duos—only we saw Denzel Washington and Russell Crowe together on screen 12 years ago in Virtuosity. Oh well. Truth be told the short time in which they share scenes has nothing on its buildup thereof but these two are a marvel in their own separate arcs. Denzel is the gaudier of them relishing his Scarface-sized villain even more than he did Alonzo in Training Day. It’s a top-notch performance to add to a career full of them and there are a plethora of scenes from which to choose for his Oscar reel. Crowe meanwhile isn’t quite as riveting as he was a few months ago in 3:10 to Yuma but that's partly because cinematic good guys always finish second in terms of watchability. And when the climactic confrontation nears Crowe dials up the tension a few notches. The marquee names though are but the tip of the iceberg in this star-studded affair which also boasts the likes of Chiwetel Ejiofor (who recently co-starred with Denzel in Inside Man) Cuba Gooding Jr. Common Carla Gugino RZA John Hawkes Ted Levine and the legendary Ruby Dee. But Gangster’s (no longer hidden) gem is Josh Brolin currently enjoying a major resurgence. With apologies to Denzel Brolin’s deliciously hateful corrupt cop might be the best performance here. Ridley Scott--semi-legendary for his sci-fi (Alien Blade Runner) action (Gladiator) and feminism (Thelma and Louise)--is not the first director who would come to mind for a gritty talky urban period drama but he displays unforeseen versatility with Gangster. Nothing feels inauthentic here from the look of Vietnam-era New York City and its inhabitants to the documentary-style feel of the sparse action and it’s a surprisingly restrained effort from Scott that allows for such realism. Other filmmakers might’ve been tempted to deflect Gangster into shoot-‘em-up territory with say an action-centric take on the size of villainry possessed by Lucas but Scott does well in staying true to what this story is and is not about. And while there’s nothing especially groundbreaking or unforgettable about his effort Scott keeps the two and a half hours pretty compelling. Gangster’s unsung hero however is its real subject Lucas and his true story even more so than the one adapted by Steven Zaillian (Schindler's List) from Marc Jacobson’s New York Times article. It’s a fascinating tale of everything that makes for good movies—race class money drugs corruption—brought to the screen vividly by a director who could potentially be in line for his first Oscar.
The Crusades were a series of religious wars in which the Christians tried to reclaim Jerusalem from the Muslims who had conquered the Middle East in the 7th century. With the battle cry of "God wills it! " thousands of Europeans answered the call and were able to retake the fabled Holy City in the 11th century. Kingdom of Heaven begins in 1186 between the Second and Third Crusades. A fragile peace prevails mostly through the efforts of Jerusalem's enlightened Christian king Baldwin IV (Edward Norton) and the military restraint of the legendary Muslim leader Saladin (Ghassan Massoud). But it's difficult to maintain the peace. There are extremists within the Christian brigades--known as the Knights Templar--who want to wipe every Muslim off the face of the Earth. On top of that King Baldwin's health is failing. Once he's gone war is sure to follow. If ever there was a need for a hero this is the time. Enter the young French blacksmith Balian (Orlando Bloom) who is in deep despair over the loss of his family. He joins the Crusades after the father he never knew Godfrey (Liam Neeson) comes back from Jerusalem and convinces him it's a quest worth fighting for. As Godfrey passes his sword to his son he also passes on that sacred knightly oath: to protect the helpless safeguard the peace and work toward harmony between religions and cultures so that a kingdom of heaven can flourish on earth. No pressure or anything though.
Orlando Bloom carries his first major motion picture very well easily handling the chores of being such a gallant conscientious and morally upstanding knight. As Balian the Troy costar plays the gamut. He broods over his lost wife and child has father-son epiphanies upholds his knightly duties on a regular basis falls in love with a beautiful but troubled princess and finally bravely defends the Holy City from the encroaching Muslim army thus becoming a legend. Not bad for a day's work eh? There are even times especially toward the end when Balian is standing before the denizens of Jerusalem urging them to fight when you swear you can see a little of Bloom's The Lord of the Rings alter-elf Legolas creep in. The supporting cast also does an adequate job painting a picture of some trying times. Chief among them: Jeremy Irons as King Baldwin's right-hand man Tiberias; Marton Csokas (The Bourne Supremacy) as the evil leader of the Knights Templar; Massoud as the great warrior Saladin; and lovely Eva Green (The Dreamers) as Princess Sibylla King Baldwin's sister who captures our hero's heart but makes some bad choices with dire consequences.
Even if these sword-and-armor epics are all blending together you've got to give props to the directors who make them. These films are massive undertakings and Kingdom of
Heaven with the expert Ridley Scott at the helm is no exception. The Oscar-winning director of course has had his fair share of recreating history first with the classic Gladiator and then with the contemporary Black Hawk Down. But in recreating the Crusades Scott faces his toughest challenge to date and takes on the responsibility very seriously. He is painstakingly meticulous with details even as he is building a 12th-century Jerusalem or corralling 2 000 heavily costumed extras for the colossal climactic battle sequences. And it is always a good thing when a historical film can teach you something you may not have known like what the heck the Crusades were really all about. No Kingdom's biggest obstacle is timing. While it certainly has more substance than Alexander it is not nearly as intense and stirring as The Lord of the Rings trilogy or the granddaddy of them all Braveheart. Too many of its ilk has come before and the concept has unfortunately worn thin.
The British Academy of Film and Television Arts (BAFTA) recognized some of the year’s best films on Sunday. "Gladiator" was chosen best film, and "Crouching Tiger, Hidden Dragon" took away best foreign-language film honors. Each of these Oscar contenders received four BAFTA awards in total.
Producers Douglas Wick, David Franzoni and Branko Lustig accepted the best film award for "Gladiator," praising director Ridley Scott during their acceptance speech, who lost out on the best director prize to Ang Lee for "Tiger."
Besides best foreign film and best director, "Crouching Tiger" also won for music (Tan Dun) and costume design (Tim Yip). Of BAFTA and the United Kingdom, Lee said: "You've always been great to me. This is like a second home to me now."
“Gladiator” also won the Orange Audience Award for most popular film of 2000. Scott thanked DreamWorks and Universal for their courage in backing a $100 million film in a genre that hadn't been touched for 30 years. "It is especially good to win this on my home turf as I spend so much time in the United States," Scott said during his acceptance speech. "I am absolutely thrilled."
Besides the BAFTA honor for best film, "Gladiator" also picked up awards for cinematography (John Mathieson), production design (Arthur Max) and editing (Pietro Scalia).
British effort "Billy Elliot" won three awards, including best British film, best actor (Jamie Bell) and best supporting actress for Julie Walters.
Julia Roberts was named best actress for her performance in the title role of "Erin Brockovich." Presenter Hugh Grant, and co-star in "Notting Hill," picked up the award for the absentee actress.
Best original screenplay and best sound awards went to Cameron Crowe’s "Almost Famous." Crowe's wife, Nancy Wilson, accepted his award, saying that Crowe was unable to attend the event as a double ear infection prevented him from flying. "He meant this movie as a love letter from his heart to music," Wilson said.
Steven Soderbergh's "Traffic" also won two awards, for adapted screenplay (Stephen Gaghan) and supporting actor (Benicio Del Toro).
Veteran casting director Mary Selway was given the Michael Balcon Award for her outstanding contribution to cinema. Actor Albert Finney was presented with a British Film Academy Fellowship for lifetime achievement, receiving a standing ovation.
The complete list of winners:
THE ACADEMY FELLOWSHIP: Albert Finney
THE MICHAEL BALCON AWARD for outstanding British Contribution to Cinema: Mary Selway
THE ALEXANDER KORDA AWARD for outstanding British Film of the Year: "Billy Elliot"
BEST FILM: "Gladiator"
THE DAVID LEAN AWARD for Achievement in Direction: Ang Lee, "Crouching Tiger, Hidden Dragon"
SCREENPLAY (Original): Cameron Crowe, "Almost Famous"
SCREENPLAY (Adapted): Stephen Gaghan, "Traffic"
PERFORMANCE BY AN ACTRESS in a leading role: Julia Roberts, "Erin Brockovich"
PERFORMANCE BY AN ACTOR in a leading role: Jamie Bell, "Billy Elliot"
PERFORMANCE BY AN ACTRESS in a supporting role: Julie Walters, "Billy Elliot"
PERFORMANCE BY AN ACTOR in a supporting role: Benicio Del Toro, "Traffic"
FILM NOT IN THE ENGLISH LANGUAGE: "Crouching Tiger, Hidden Dragon" (Bill Hong/Hsu Li Kong/Ang Lee )
THE ANTHONY ASQUITH AWARD for achievement in Film Music: Tan Dun, "Crouching Tiger, Hidden Dragon"
THE CARL FOREMAN AWARD for Most Promising Newcomer to British Film: Pawel Pawlikowski
CINEMATOGRAPHY: John Mathieson, "Gladiator"
PRODUCTION DESIGN: Arthur Max, "Gladiator"
COSTUME DESIGN: Tim Yip, "Crouching Tiger, Hidden Dragon"
EDITING: Pietro Scalia, "Gladiator"
SOUND: Jeff Wexler/D.M. Hemphill/Rick Kline/Paul Massey/Mike Wilhoit, "Almost Famous"
ACHIEVEMENT IN SPECIAL VISUAL EFFECTS: Stefen Fangmeier/John Frazier/Walt Conti/Habib Zargarpour/Tim Alexander, "The Perfect Storm"
MAKE UP/HAIR: Rick Baker/Kazuhirop Tsuji/Tony G./Gal Ryan/Sylvia Nava, "How the Grinch Stole Christmas"
SHORT FILM Gary Holding/Justine Leahy/Tinge Krishnan, "Shadowscan"
SHORT ANIMATION: Claire Jennings/Willem Thijssen/Michael Dudok de Wit, "Father and Daughter"
ORANGE AUDIENCE AWARD: "Gladiator"