![]() It's understandable, particularly for Europeans, how this could be problematic due to their upbringing in studying history, but the movie is not really about being historically perfect it's a work of art about things much deeper. Although its retractors and critics will dwell and harp on the historical accuracy of some of the movie, particularly what part Robert the Bruce played in real life, there is no denying the true power and emotional influence of this movie. Telling the quasi-true story of one man's conviction and courage to exact vengeance for the killing of his first wife and father at the hands of the ruthless King Edward the II of England, who in turn inspires his small province of Scotland to rebel and go to war in a real fight for freedom and independence, Braveheart is a stunning depiction of the capacity of the human spirit to overcome the odds, defy tyranny, and achieve justice, respect, and dignity against oppression. The haunting loveliness of McCormack and the silver-tongued grace of Marceau as the forlorn Princess of Wales add welcome softness to the furore.Braveheart is the best movie ever made in history, an absolute sculpted work of art that depicts every emotion of human existence, from suffering, to courage to love, in front of the background of political astuteness and socio-hierarchal analysis. As director he is passionate and controlled - harnessing the thousands of extras to create the awesome in-yer-face battle scenes, free-flowing with decapitatory and limb-lopping enthusiasm, while drawing sparkling performances from his cast, be they mud-caked, kilt-lifting warriors or preened maidens. As actor he is majestic - his locks extended to a mighty hazel mane, his Hollywood good looks set like the face of Ben Nevis, his Highland accent surprisingly authentic - fearlessly accessing the man's consuming battle frenzy as much as his glowing heroism. What is so evident among Braveheart's earthy hugeness is Gibson's self-belief. An almighty rebellion is mapped out via a set of searingly intense battle scenes, the political treachery of the lords in residence, the connivings of the merciless English King, Edward Longshanks (a splendidly corrupt McGoohan) and the eventual betrayal of all that he stood for (freedom, honour etc.). From then on - and the bulk of this gripping tapestry of medieval gung ho - he is in a perpetual state of war. Randall Wallace's decade-engulfing script - managing successfully to skirt potential melodrama - charts instead his namesake's heroic struggle from the childhood loss of his pa and bro' at the hands of the double-crossing English, through his wooing of the adorable McCormack, to the horrific events that turn him from peaceable farmer to blood-thirsty warrior. Such is El Gibbo's accomplishment, however, that Braveheart can stand shoulder to armour-clad shoulder with the aforementioned slices of epic. Mel Gibson, it seems, is not one to balk at a challenge the size of the Caledonians.įor his second directorial venture the star has elected to delve into the past, namely Scottish folk hero William Wallace, whose sprawling story would give the hardiest of directors the jitters. Inhospitable locations, a massive cast, a bum-numbing three-hour length, mud-strewn 13th Century decor, phalanxes of horses, kilts, beards, broadswords and battle scenes on a scale not seen since Spartacus and El Cid.
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