Development on the film initially started at Metro-Goldwyn-Mayer (MGM) when producer Alan Ladd Jr. picked up the project from Wallace, but when MGM was going through new management, Ladd left the studio and took the project with him. Despite initially declining, Gibson eventually decided to direct the film, as well as star as Wallace. Braveheart was filmed in Scotland and Ireland from June to October 1994.[4] The film, which was produced by Gibson's Icon Productions and The Ladd Company, was distributed by Paramount Pictures in North America and by 20th Century Fox internationally.
Released on May 24, 1995, Braveheart was a critical and commercial success. The film received praise for its action, drama, and romance,[5] though it was criticized for its historical inaccuracies.[6][7] A legacy sequel, Robert the Bruce, was released on June 28, 2019, with Angus Macfadyen reprising his role.
Plot
In 1280, Edward I of England, known as "Longshanks", conquers Scotland following the death of the Scots' king, who left no heir. Young William Wallace witnesses Longshanks' execution of several Scottish nobles, then loses his father and brother when they resist the English. He is taken on by his paternal uncle, who educates him.
Years later, Longshanks grants his noblemen land and privileges in Scotland, including jus primae noctis, while his son and heir reluctantly marries Isabella of France. Meanwhile, a grown Wallace returns home and secretly marries his childhood friend Murron MacClannough. Wallace rescues Murron from being raped by English soldiers, but as he fights off the soldiers, Murron is captured and publicly executed. In retribution, Wallace and the locals overthrow the English garrison, beginning a rebellion. Longshanks orders his son to stop Wallace while he campaigns in France. Wallace defeats an English army at Stirling, then invades England and sacks York. He also connects with Robert the Bruce, a contender for the Scottish crown. Upon returning to England and confronting his son, Longshanks sends Isabella to negotiate with Wallace as a distraction from the arrival of Longshanks' forces. After meeting Wallace, Isabella becomes enamored with him. She warns him of Longshanks' plans, and Wallace implores the Scottish nobility to help him. Wallace faces Longshanks at Falkirk. During the battle, nobles Mornay and Lochlan withdraw, having been bribed by Longshanks, resulting in Wallace's army being overwhelmed. Wallace also discovers Robert the Bruce had joined Longshanks. After the battle, Robert vows to not be on the wrong side again.
Wallace kills Mornay and Lochlan for their betrayal and foils an assassination plot with Isabella's help, while Longshanks' health declines. At a meeting in Edinburgh, Wallace is captured. Learning of his father's responsibility, Robert disowns his father. In England, Wallace is tried for high treason and condemned to execution. After a final meeting with Wallace, Isabella tells Longshanks, who can no longer speak, that his bloodline will end upon his death as she is pregnant with Wallace's child and will ensure that Longshanks' son spends as short a time as possible as monarch before Wallace's child replaces him. At his execution, Wallace refuses to submit, even while being disemboweled. The magistrate encourages Wallace to seek mercy and be granted a quick death. Wallace instead shouts, "Freedom!", while Longshanks dies. Before being beheaded, Wallace sees a vision of Murron in the crowd.
In 1314, Robert, now Scotland's king, faces the English at Bannockburn, and implores his men to fight with him as they did with Wallace. Wallace's former comrade, Hamish, throws Wallace's sword to land point-down in the ground, then Robert leads the Scots to a final victory.
Producer Alan Ladd Jr. initially had the project at MGM-Pathé Communications when he picked up the script from Wallace.[8] When Metro-Goldwyn-Mayer (MGM) was going through new management in 1993, Ladd left the studio and took some of its top properties, including Braveheart.[9] Gibson came across the script and even though he liked it, he initially passed on it. However, the thought of it kept coming back to him, and he ultimately decided to take on the project.[8]Terry Gilliam was offered to direct the film, but he declined.[10] Gibson was initially interested in directing only and considered Brad Pitt in the role of Sir William Wallace, but later reluctantly agreed to play Wallace as well.[3] He also considered Jason Patric for the role.[11]Sean Connery was approached to play King Edward, but he declined due to other commitments.[12] Gibson said that Connery's pronunciation of "Goulash" helped him for the Scottish accent for the film.[13]
Gibson (right) on set with 20th Century Fox executive Scott Neeson
Gibson and his production company, Icon Productions, had difficulty raising enough money for the film. Warner Bros. was willing to fund the project on the condition that Gibson sign for another Lethal Weapon sequel, which he refused. Gibson eventually gained enough financing for the film, with Paramount Pictures financing a third of the budget in exchange for North American distribution rights to the film, and 20th Century Fox putting up the other two-thirds in exchange for international distribution rights.[14][3]
Filming
Principal photography on the film began on June 6, 1994.[4] While the crew spent three weeks shooting on location in Scotland, the major battle scenes were shot in Ireland using members of the Irish Army Reserve as extras. To lower costs, Gibson had the same extras, up to 1,600 in some scenes, portray both armies. The reservists had been given permission to grow beards and swapped their military uniforms for medieval garb.[15] Principal photography ended on October 28, 1994.[4] The film was shot in the anamorphic format with Panavision C- and E-Series lenses.[16] Gibson also later said that while filming a battle scene a horse nearly "killed him" but his stunt double was able to save him as the horse fell.[17]
Gibson had to tone down the film's battle scenes to avoid an NC-17 rating from the MPAA; the final version was rated R for "brutal medieval warfare".[18] Gibson and editor Steven Rosenblum initially had a film at 195 minutes, but Sherry Lansing, who was the head of Paramount at the time, requested Gibson and Rosenblum to cut the film down to 177 minutes.[19] According to Gibson in a 2016 interview with Collider, there is a four-hour version of the film, and he would be interested in reassembling it if both Paramount and Fox are interested.[20]
The score was composed and conducted by James Horner and performed by the London Symphony Orchestra. It is Horner's second of three collaborations with Mel Gibson as director. The score has gone on to be one of the most commercially successful soundtracks of all time. It received considerable acclaim from film critics and audiences and was nominated for a number of awards, including the Academy Award, Saturn Award, BAFTA Award, and Golden Globe Award.
Braveheart was released on LaserDisc in both pan and scan and widescreen on March 12, 1996. That same day, it also was made available on VHS in pan and scan only and was re-issued in widescreen on August 27.
The film was released on DVD on August 29, 2000. This edition included the film only in widescreen, a commentary track by Gibson, a behind-the-scenes featurete, along the trailers.[23]
It was released on Blu-ray as part of the Paramount Sapphire Series on September 1, 2009. It included the DVD features along with new bonus material. [24] It was released on 4KUHD Blu-ray as part of the 4K upgrade of the Paramount Sapphire Series on May 15, 2018.[24]
Reception
Box office
On its opening weekend, Braveheart grossed $9,938,276 in the United States and $75.6million in its box office run in the U.S. and Canada.[2] Worldwide, the film grossed $210,409,945 and was the thirteenth-highest-grossing film of 1995.[2]
Critical response
On Rotten Tomatoes the film has an approval rating of 75% and an average score of 7.20/10 based on 125 reviews. The site's consensus states: "Distractingly violent and historically dodgy, Mel Gibson's Braveheart justifies its epic length by delivering enough sweeping action, drama, and romance to match its ambition."[5] On Metacritic the film has a score of 68 out of 100 based on 20 critic reviews, indicating "generally favorable reviews".[25] Audiences surveyed by CinemaScore gave the film a grade A− on scale of A to F.[26]
Caryn James of The New York Times praised the film, calling it "one of the most spectacular entertainments in years."[27]Roger Ebert gave the film three and a half out of four stars, calling it "An action epic with the spirit of the Hollywood swordplay classics and the grungy ferocity of The Road Warrior."[28] In a positive review, Gene Siskel wrote that "in addition to staging battle scenes well, Gibson also manages to recreate the filth and mood of 700 years ago."[29]Peter Travers of Rolling Stone felt that "though the film dawdles a bit with the shimmery, dappled love stuff involving Wallace with a Scottish peasant and a French princess, the action will pin you to your seat."[30] The depiction of the Battle of Stirling Bridge was listed by CNN as one of the best battles in cinema history.[31]
Not all reviews were positive, Richard Schickel of Time magazine argued that "everybody knows that a non-blubbering clause is standard in all movie stars' contracts. Too bad there isn't one banning self-indulgence when they direct."[32] Peter Stack of San Francisco Chronicle felt "at times the film seems an obsessive ode to Mel Gibson machismo."[33] In a 2005 poll by British film magazine Empire, Braveheart was No. 1 on their list of "The Top 10 Worst Pictures to Win Best Picture Oscar".[34]Empire readers had previously voted Braveheart the best film of 1995.[35]
Effect on tourism
The European premiere was on September 3, 1995, in Stirling.[36]
In 1996, the year after the film was released, the annual three-day "Braveheart Conference" at Stirling Castle attracted fans of Braveheart, increasing the conference's attendance to 167,000 from 66,000 in the previous year.[37] In the following year, research on visitors to the Stirling area indicated that 55% of the visitors had seen Braveheart. Of visitors from outside Scotland, 15% of those who saw Braveheart said it influenced their decision to visit the country. Of all visitors who saw Braveheart, 39% said the film influenced in part their decision to visit Stirling, and 19% said the film was one of the main reasons for their visit.[38] In the same year, a tourism report said that the "Braveheart effect" earned Scotland £7million to £15million in tourist revenue, and the report led to various national organizations encouraging international film productions to take place in Scotland.[39]
The film generated huge interest in Scotland and in Scottish history, not only around the world, but also in Scotland itself.[citation needed] At a Braveheart Convention in 1997, held in Stirling the day after the Scottish Devolution vote and attended by 200 delegates from around the world, Braveheart author Randall Wallace, Seoras Wallace of the Wallace Clan, Scottish historian David Ross and Bláithín FitzGerald from Ireland gave lectures on various aspects of the film.[citation needed] Several of the actors also attended including James Robinson (Young William), Andrew Weir (Young Hamish), Julie Austin (the young bride) and Mhairi Calvey (Young Murron).[citation needed]
In 1997, a 12-foot (3.7m), 13-tonne (13-long-ton; 14-short-ton)sandstone statue depicting Mel Gibson as William Wallace in Braveheart was placed in the car park of the Wallace Monument near Stirling, Scotland. The statue, which was the work of Tom Church, a monumental mason from Brechin,[53] included the word 'Braveheart' on Wallace's shield. The installation became the cause of much controversy; one local resident stated that it was wrong to "desecrate the main memorial to Wallace with a lump of crap".[54]
In 1998, someone wielding a hammer vandalized the statue's face. After repairs were made, the statue was encased in a cage every night to prevent further vandalism. This only incited more calls for the statue to be removed, as it then appeared that the Gibson/Wallace figure was imprisoned. The statue was described as "among the most loathed pieces of public art in Scotland".[55] In 2008, the statue was returned to its sculptor to make room for a new visitor centre being built at the foot of the Wallace Monument.[56]
Historical inaccuracy
Randall Wallace, who wrote the screenplay, has acknowledged Blind Harry's 15th-century epic poemThe Acts and Deeds of Sir William Wallace, Knight of Elderslie as a major inspiration for the film.[57] In defending his script, Randall Wallace has said, "Is Blind Harry true? I don't know. I know that it spoke to my heart and that's what matters to me, that it spoke to my heart."[57] Blind Harry's poem is not regarded as historically accurate, and although some incidents in the film that are not historically accurate are taken from Blind Harry (e.g. the hanging of Scottish nobles at the start),[58] there are large parts that are based neither on history nor Blind Harry (e.g. Wallace's affair with Princess Isabella).[6]
Elizabeth Ewan describes Braveheart as a film that "almost totally sacrifices historical accuracy for epic adventure".[59] It has been described as one of the most historically inaccurate modern films.[6] Sharon Krossa noted that the film contains numerous historical inaccuracies, beginning with the wearing of belted plaid by Wallace and his men. In that period "no Scots [...] wore belted plaids (let alone kilts of any kind)." Moreover, when Highlanders finally did begin wearing the belted plaid, it was not "in the rather bizarre style depicted in the film". She compares the inaccuracy to "a film about Colonial America showing the colonial men wearing 20th century business suits, but with the jackets worn back-to-front instead of the right way around."[60] In a previous essay about the film, she wrote, "The events aren't accurate, the dates aren't accurate, the characters aren't accurate, the names aren't accurate, the clothes aren't accurate—in short, just about nothing is accurate."[61] The belted plaid (feileadh mór léine) was not introduced until the 16th century.[62] Peter Traquair has referred to Wallace's "farcical representation as a wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early)."[63] Caroline White of The Timesdescribed the film as being made up of a "litany of fibs."[64] Irish historian Seán Duffy remarked that "the battle of Stirling Bridge could have done with a bridge."[65]
In 2009, the film was second on a list of "most historically inaccurate movies" in The Times.[6] In the humorous non-fictional historiography An Utterly Impartial History of Britain (2007), author John O'Farrell claims that Braveheart could not have been more historically inaccurate, even if a Plasticine dog had been inserted in the film and the title changed to "William Wallace and Gromit".[66]
In the DVDaudio commentary of Braveheart, Mel Gibson acknowledged the historical inaccuracies but defended his choices as director, noting that the way events were portrayed in the film was much more "cinematically compelling" than the historical fact or conventional mythos.[6]
Jus primae noctis
Edward Longshanks is shown invoking Jus primae noctis in the film, allowing the lord of a medieval estate to take the virginity of his serfs' maiden daughters on their wedding nights. Critical medieval scholarship regards this supposed right as a myth: "the simple reason why we are dealing with a myth here rests in the surprising fact that practically all writers who make any such claims have never been able or willing to cite any trustworthy source, if they have any."[67][68]
Occupation and independence
The film suggests Scotland had been under English occupation for some time, at least during Wallace's childhood, and in the run-up to the Battle of Falkirk Wallace says to the younger Bruce, "[W]e'll have what none of us have ever had before, a country of our own." In fact, Scotland had been invaded by England only the year before Wallace's rebellion; prior to the death of King Alexander III it had been a fully separate kingdom.[69]
Portrayal of William Wallace
As John Shelton Lawrence and Robert Jewett writes, "Because [William] Wallace is one of Scotland's most important national heroes and because he lived in the very distant past, much that is believed about him is probably the stuff of legend. But there is a factual strand that historians agree to", summarized from Scots scholar Matt Ewart:
Wallace was born into the gentry of Scotland; his father lived until he was 18, his mother until his 24th year; he killed the sheriff of Lanark when he was 27, apparently after the murder of his wife; he led a group of commoners against the English in a very successful battle at Stirling in 1297, temporarily receiving appointment as guardian; Wallace's reputation as a military leader was ruined in the same year of 1297, leading to his resignation as guardian; he spent several years of exile in France before being captured by the English at Glasgow, this resulting in his trial for treason and his cruel execution.[70]
A. E. Christa Canitz writes about the historical William Wallace further: "[He] was a younger son of the Scottish gentry, usually accompanied by his own chaplain, well-educated, and eventually, having been appointed Guardian of the Kingdom of Scotland, engaged in diplomatic correspondence with the Hanseatic cities of Lübeck and Hamburg". She finds that in Braveheart, "any hint of his descent from the lowland gentry (i.e., the lesser nobility) is erased, and he is presented as an economically and politically marginalized Highlander and 'a farmer'—as one with the common peasant, and with a strong spiritual connection to the land which he is destined to liberate."[71]
Colin McArthur writes that Braveheart "constructs Wallace as a kind of modern, nationalistguerrilla leader in a period half a millennium before the appearance of nationalism on the historical stage as a concept under which disparate classes and interests might be mobilised within a nation state." Writing about Braveheart's "omissions of verified historical facts", McArthur notes that Wallace made "overtures to Edward I seeking less severe treatment after his defeat at Falkirk", as well as "the well-documented fact of Wallace's having resorted to conscription and his willingness to hang those who refused to serve."[72] Canitz posits that depicting "such lack of class solidarity" as the conscriptions and related hangings "would contaminate the movie's image of Wallace as the morally irreproachable primus inter pares among his peasant fighters."[71]
Portrayal of Isabella of France
Isabella of France is shown having an affair with Wallace after the Battle of Falkirk. She later tells Edward I she is pregnant, implying that her son, Edward III, was a product of the affair. In reality, Isabella was around three years old and living in France at the time of the Battle of Falkirk, was not married to Edward II until he was already king, and Edward III was born seven years after Wallace died.[73][6] The breakdown of the couple's relationship over his liaisons, and the menacing suggestion to a dying Longshanks that she would overthrow and destroy Edward II mirror and foreshadow actual facts; although not until 1326, over 20 years after Wallace's death, Isabella, her son Edward, and her lover Roger Mortimer would invade England to depose - and later allegedly murder - Edward II.[74]
Portrayal of Robert the Bruce
Robert the Bruce did change sides between the Scots loyalists and the English more than once in the earlier stages of the Wars of Scottish Independence, but he probably did not fight on the English side at the Battle of Falkirk (although this claim does appear in a few medieval sources).[75] Later, the Battle of Bannockburn was not a spontaneous battle soon after Wallace's execution; he had already been fighting a guerrilla campaign against the English for eight years.[76] His title before becoming king was Earl of Carrick, not Earl of Bruce.[77][78]Bruce's father is portrayed as an infirm leper, although it was Bruce himself who allegedly suffered from leprosy in later life. The actual Bruce's machinations around Wallace, rather than the meek idealist in the film, suggests the father-son relationship represent different aspects of the historical Bruce's character.[79][80] In the film, Bruce's father betrays Wallace to his son's disgust, acknowledging it as the price of his crown, although in real life Wallace was betrayed by the nobleman John de Menteith and delivered to the English.[81]
Portrayal of Longshanks and Prince Edward
The actual Edward I was ruthless and temperamental, but the film exaggerates his negative aspects for effect. Edward enjoyed poetry and harp music, was a devoted and loving husband to his wife Eleanor of Castile, and as a religious man, he gave generously to charity. The film's scene where he scoffs cynically at Isabella for distributing gold to the poor after Wallace refuses it as a bribe would have been unlikely. Furthermore, Edward died on campaign two years after Wallace's execution, not in bed at his home.[82]
We cut a scene out, unfortunately ... where you really got to know that character [Edward II] and to understand his plight and his pain ... But it just stopped the film in the first act so much that you thought, 'When's this story going to start?'[83]
Gibson defended his depiction of Prince Edward as weak and ineffectual, saying:
I'm just trying to respond to history. You can cite other examples—Alexander the Great, for example, who conquered the entire world, was also a homosexual. But this story isn't about Alexander the Great. It's about Edward II.[84]
In response to Longshanks's murder of the Prince's male lover Phillip, Gibson replied: "The fact that King Edward throws this character out a window has nothing to do with him being gay ... He's terrible to his son, to everybody."[85] Gibson asserted that the reason Longshanks kills his son's lover is that the king is a "psychopath".[86]
Wallace's military campaign
"MacGregors from the next glen" joining Wallace shortly after the action at Lanark is dubious, since it is questionable whether Clan Gregor existed at that stage, and when they did emerge their traditional home was Glen Orchy, some distance from Lanark.[87]
Wallace did win an important victory at the Battle of Stirling Bridge, but the version in Braveheart is highly inaccurate, as it was filmed without a bridge (and without Andrew Moray, joint commander of the Scots army, who was fatally injured in the battle). Later, Wallace did carry out a large-scale raid into the north of England, but he did not get as far south as York, nor did he kill Longshanks's nephew.[88]
The "Irish conscripts" at the Battle of Falkirk are unhistorical; there were no Irish troops at Falkirk (although many of the English army were, in fact, Welsh).[89]
The two-handed long swords used by Gibson in the film were not in wide use in the period. A one-handed sword and shield would have been more accurate and more efficient, since in the enemy army there were a lot of archers.[90][bettersourceneeded]
A sequel, titled Robert the Bruce, was released in 2019. The film continues directly on from Braveheart and follows the widow Moira, portrayed by Anna Hutchison, and her family (portrayed by Gabriel Bateman and Talitha Bateman), who save Robert the Bruce, with Angus Macfadyen reprising his role from Braveheart.
Filming took place in 2019 and was completed with a limited cinematic release the same year.
See also
Outlaw King; although not a sequel, it depicts events that occurred immediately after the events in Braveheart
Rob Roy; a historical action drama film featuring Robert Roy MacGregor, an 18th-century Scottish clan chief, and released in the same year.
Related Research Articles
Robert I, popularly known as Robert the Bruce, was King of Scots from 1306 to his death in 1329. Robert led Scotland during the First War of Scottish Independence against England. He fought successfully during his reign to restore Scotland to an independent kingdom and is regarded in Scotland as a national hero.
Sir William Wallace was a Scottish knight who became one of the main leaders during the First War of Scottish Independence.
The Battle of Stirling Bridge was fought during the First War of Scottish Independence. On 11 September 1297, the forces of Andrew Moray and William Wallace defeated the combined English forces of John de Warenne, 6th Earl of Surrey, and Hugh de Cressingham near Stirling, on the River Forth.
Randall Wallace is an American screenwriter, film director and producer who came to prominence by writing the screenplay for the historical drama film Braveheart (1995). His work on the film earned him a nomination for the Academy Award for Best Original Screenplay and a Writers Guild of America Award in the same category. He has since directed films such as The Man in the Iron Mask (1998), We Were Soldiers (2002), Secretariat (2010) and Heaven Is for Real (2014).
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Robert the Bruce is a 2019 British historical fiction war film directed by Richard Gray concerning the renowned king of the same name. It is a spin-off/sequel to Mel Gibson's Braveheart (1995), with Angus Macfadyen reprising his role as Robert the Bruce. A character-driven ensemble piece, it portrays Robert's relationship with a peasant family as a galvanising influence on his struggle for independence and his ensuing reign.
↑ Zumkhawala-Cook, Richard (2008). Scotland as We Know It: Representations of National Identity in Literature, Film and Popular Culture. McFarland. p.147. ISBN978-0-7864-4031-3.
↑ MacLellan, Rory; Smith, Ronnie (1998). Tourism in Scotland. Cengage Learning EMEA. p.230. ISBN978-1-86152-089-0.
↑ Martin-Jones, David (2009). Scotland: Global Cinema – Genres, Modes, and Identities. Edinburgh University Press. p.14. ISBN978-0-7486-3391-3.
↑ Hal G. P. Colebatch (August 8, 2006). "The American Spectator". Spectator.org. Archived from the original on October 12, 2007. Retrieved February 27, 2009.
1 2 Canitz, A.E. Christa (2005). "'Historians ... Will Say I Am a liar': The Ideology of False Truth Claims in Mel Gibson's Braveheart and Luc Besson's The Messenger". In Utz, Richard J.; Swan, Jesse G. (eds.). Studies in Medievalism XIII: Postmodern Medievalisms. Suffolk, United Kingdom: D.S. Brewer. pp.127–142. ISBN978-1-84384-012-1.
↑ McArthur, Colin (1998). "Braveheart and the Scottish Aesthetic Dementia". In Barta, Tony (ed.). Screening the Past: Film and the Representation of History. Praeger. pp.167–187. ISBN978-0-275-95402-4.
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