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On a whole number of levels, this movie shouldn’t have worked for me. It takes remarkable license with historical facts, not only in order to supplement details that are not portion of William Wallace’s record but actually, wherever convenient. (”We stuck to history where we could but hyped it up where the anecdote let us,” actor-director Mel Gibson admits on the DVD’s commentary track.) It is graphically and unabashedly violent: from throat cuttings to battle scenes that have film blood literally splashing onto the camera, beheadings, a traitor’s head smashed with a
wrecking ball, and fully 15 minutes of Wallace’s “purification by hurt,” it shows some of the most brutal behavior conceivable. It also engages in some of the most blatant delighted profiling in unusual film history – not fair in the drastic kill administered on the lover of King Edward I. “Longshanks”’s son, but equally in the portrayal of both characters and their relationship as such. Last but not least, Mel Gibson plays a man at least 10 years younger than himself, a choice often enough bordering on the ridiculous. (Gibson insists it was the studio’s wish that he not only perform and express but also star in the title role.)
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And yet …
From the first notes of James Horner’s hauntingly comely soundtrack and the first sweeping camera shots over the Scottish highlands, blending seamlessly into the pictures of the Scottish riders on their diagram to the alleged truce talks initiated by Longshanks, and the narrator’s, Robert the Bruce’s (Angus MacFadyen’s) introduction – “I shall protest you about William Wallace: Historians from England will call me a liar, but history is written by those who have hanged heroes” – there is no mistaking that this is an anecdote fable, taking up the tradition of the likes of “Spartacus” and “Ben Hur.” Like those movies, “Braveheart” is a narrative of heroism and of having the courage of one’s convictions; chronicling the life of its hero from first treasure to loss, betrayal, battles and final confrontation with his arch-enemy’s powers. Like both of them, “Braveheart” won multiple Academy Awards, not least for John Toll’s outstanding cinematography. Like “Ben Hur,” it also won the coveted awards for “Best Describe” and for “Best Director.” And maybe I’m honest a sucker for that kind of epos …
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To my surprise, I found Mel Gibson to approach across very believable as William Wallace; age disagreement, Scottish brogue and all. Both his acting and his direction are informed by a definite sense of vision for the movie and its title character. Moreover, although plump writing credits went to would-be (? ) Wallace descendant Randall W., many petite details undeniably reveal Gibson’s hand and mannerisms: to name fair a few of the more certain examples, Wallace’s marriage proposal to Murron, his grinning greeting of a group of English soldiers trapped below a cliff, and his response to a doubting Scottish soldier’s comment at Pleasurable that he can’t really be Wallace because he’s not substantial enough.
In addition to John Toll’s award winning cinematography, the movie benefits from sterling production earn (Tom Sanders), a win which perfectly captures the mood of every single scene, and a cast of outstanding actors; first and foremost Patrick McGoohan as Longshanks, who portrays the king’s divulge ruthlessness so convincingly that you completely forget his earlier incarnation as the 1960s’ “Pain Man,” and who delivers monologues and soliloquies obliging of a Shakespearean king. His musing “but whom shall I send” when plotting to send a messenger to Wallace with another insincere offer of truce, and his chilling announcement of the reinstitution the ius primae noctae because “the wretchedness with Scotland is that it is elephantine of Scots … If we can’t fetch them out, we’ll breed them out” could have been uttered verbatim by anyone of the Bard’s most inappropriate kings. (Screenwriter Randall Wallace does indeed admit to Shakespeare’s lisp influence on the script, particularly on Wallace’s “Sons of Scotland” speech before the battle of Obedient, which is strongly based on the monologues of King Henry V. at Agincourt) .
Equally impressive is Ian Bannen in one of his last roles, starring as Robert the Bruce’s leprosy-ridden father and contemptible spirit, whose first reaction to the tales about Wallace is to deride him (”He has courage; so does a dog”), and who expertly plays on his son’s ambivalent feelings, until he finally drives Robert into hating his father for having coaxed him into his bear game of scheming and betrayal – whereupon the elder Bruce drily comments: “At last you have learned what it means to disapprove. Now you are ready to be a king.”
Then-newcomer Catherine McCormack stars as Wallace’s childhood cherish Murron, whose scenes with Wallace provide for much-needed tenderness in the first hour of the movie – particularly touching is four year conventional Murron’s gift of a thistle (Scotland’s national flower) to orphaned William – and dissimilarity sharply with the bloodshed that follows virtually incessantly from her death onwards. Sophie Marceau matures from teenage party queen (”La Boum”) to French Princess Isabelle; Brendan Gleeson stars as Wallace’s boyhood friend Hamish, David O’Hara as his heaven-conversing, self-appointed Irish guardian Stephen – one of the movie’s most intellectual characters – and Brian Cox brings all his astounding shroud presence to his brief appearance as Wallace’s uncle Argyle.
When I left the theater after having witnessed this movie’s almost three hours of blood, gore and intense emotions for the first time, I felt as if somebody had given me a fist punch into my stomach. I was so struck that I was almost unable to bellow, and dragged my moviegoing companion into the next bar, to revive my spirits with a glass of whiskey. (Scotch, of course) . Having seen the film countless times since then, I no longer need that whiskey to overcome its drastic impact – but I calm regain gooseflesh during many of its key scenes and can’t search for it without feeling emotionally drained at the extinguish.
Also recommended:
William Wallace
Braveheart
Rob Roy
Spartacus – Criterion Collection
Ben-Hur (Four-Disc Collector’s Edition)
“Braveheart” is quite simply, one of the best and most successful movies ever created and a stout piece of that success comes from the efforts extended by Mel Gibson, as he wore three different hats for this masterpiece, those being producer, director and star. The one oddity about this movie for me was that I exquisite distinguished wore out my VHS copy of it and had, a couple years ago, purchased the DVD but only honest recently took the opportunity to peek it again and no matter how many times you peruse this movie, it is smooth a ravishing, compelling and extraordinarily lively film that draws you in to the life of William Wallace despite already incandescent how it’s going to ruin.
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The one thing that drives this movie is the spirit that Mel Gibson puts into his character of William Wallace and it is of no surprise that “Braveheart” won five Academy Awards, including Best Report of 1995 and Best Director for Mel Gibson. The only suitable surprise was that he wasn’t among the top five nominated for or won the Best Actor award.
High praise also goes to the long list of supporting actors and actresses that starred in this top-notch film! Most valuable was the performance by Sophie Marceau, one of the most fair women on the planet. Patrick McGoohan was absolutely fabulous in the role of the villain Longshanks, King Edward I, delivering a memorable performance.
One of the most indispensable performances in this film, among the many, was the work done by James Horner who was responsible for the procure. As is normally the case when his name appears in the credits, everything about the salvage, from the first reel to the last, is incredibly well blended into the movie and serves extremely well in enhancing the experience of the movie.
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The Premise:
As the conventional saying goes, is it Hollywood or History? The truth is, of course it’s a bit of history, do together Hollywood style to acquire one of the best films ever presented to an audience. The truth slack it is that we’ll never know as recorded history from this era is circumspect as best. Where a ample allotment of the credit for this film lays is in the hands of Randall Wallace, a descendant of William Wallace’s.
As this historic film opens, we gape a young William Wallace in Scotland as he’s learning the harsh lessons of life in his era. After his family is killed in battle he’s fortunate enough to have his Uncle Argyle (played brilliantly by Brian Cox) remove him under his skim! Several years later he returns home to net that his countrymen are serene suffering under the yoke of English oppression but he didn’t reach home for that, he came home for Murron MacClannough (Catherine McCormack), seeking her hand in marriage. Sorrowful events unfold from there and William loses the treasure of his life and goes on a rampage not only to avenge his cherish but to free his country…
What follows from there is not only one of the best films of the nineties but one of the best films of all times. I highly recommend “Braveheart” to any and all who are keen in seeing what upright movie making is about! {ssintrepid}
Special Features:
-2 Theatrical Trailers
-Commentary by Director Mel Gibson
-A Filmmaker’s Passion: The Making of Braveheart
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