Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: FRIDAY, May 26, 1995 TAG: 9505260044
SECTION: EXTRA PAGE: 1 EDITION: METRO
SOURCE: KATHERINE REED STAFF WRITER
DATELINE: LENGTH: Medium
This meaner, leaner, grimier film homage to Scottish "history" comes from the same place philosophically as the earlier movie: It accepts the idea of the legend and attempts to make flesh and bone of it, retaining the truly heroic qualities - loyalty to the people one loves and to a cause - of the central character.
But this one is a lot more fun because Gibson, who produced, directed and starred, brings the necessary talents to the tale of William Wallace, the 13th-century Scottish warrior who led a revolt against the English. A veteran of action movies, Gibson obviously paid close attention to just which elements are crucial to making the genre work and saw exactly how to use them in this story of the making of a hero.
Historians, no doubt, will be appalled. But this is, after all, a movie with a central character about whom very little is known. As written by Randall Wallace (no relation), William Wallace is a hero born of love and tempered by betrayals. Once he has begun his odyssey, he does not change much: He merely becomes more of what he already is and, finally - a legend.
The movie begins with Wallace as a child, burying his father and brother, slain in battle. At graveside, he is given a flower by a little girl. Years later, he returns to his village and woos the now grown-up girl, Murron (the luminescent Catherine McCormack, in a debut), whom he marries in secret so that he does not have to give up "first night" rights to the local English magistrate.
Murron becomes a target anyway. In seeking vengeance, Wallace finds himself honestly and passionately at war with the ruling English - and, suddenly, the leader of a growing army.
As Wallace's aides, Brendan Gleeson as Hamish and James Cosmo as the nearly indestructible Campbell are excellent. Angus McFadyen makes a riveting debut as Robert, the 17th Earl of Bruce, who is torn between loyalty to his leper father (Ian Bannen) and a growing sense that he's fighting for the wrong side. David O'Hara as the nutty, fighting Irishman Stephen - who carries on loud conversations with God - is fierce and funny.
When you're dealing with epic stuff, it's important to retain a sense of humor, and Gibson makes the most of every moment the script offers. (Yes, it's true: This movie offers the naked truth about what Scots wear under their kilts.)
But the reality that the film creates isn't compromised. The famous battle scene at Stirling has to be on the Top 10 List of longest, bloodiest most grunt-filled ever filmed. Gibson didn't just pay attention to how a battle scene would look; he also offers a cacophony of sword on helmet, hoof on ground, arrow in air, and there's just no getting away from it.
Cinematographer John Toll gives Gibson a lot of help in giving a mud's-eye - but still beautiful - view of Scotland.
But it is really Gibson who deserves most of the credit for making "Braveheart" the big, fat, juicy epic it is. He doesn't get swallowed up by the "history," but does a kind of respectful, Highland fling on its gravestone.
Braveheart ***
A Paramount Pictures release, rated R for very graphic violence, nudity and a smattering of vulgarity, showing at Salem Valley 8, 178 minutes.
by CNB