Rob Roy Reviews

It is not uncommon that, within a rather short-time periode, the studios would release two similar movies (see last year 'The Legend of Hercules' and 'Hercules'). Back in 1995, Mel Gibson had a massive critical and box-office success with 'Braveheart' but, a couple of months before, Liam Neeson already showed up in his own periode epic about a real-life Scottish hero. Eventually, even though this flick managed to get some decent reviews (For example, Roger Ebert really loved it), it always remained overshadowed by Gibson's classic. First of all, I had to admit that I never been a fan of 'Braveheart', I think it is an entertaining epic but not much more than that but I still think it was more impressive than this flick. I mean, don't get me wrong, it is also a rather well made flick but even though Rob Roy, the character, was pretty bad-ass thanks to an always dependable Liam Neeson, he never came near William Wallace in terms of sheer awesomness. Eventually, the only thing that really left a big impression was Tim Roth who was definitely one of the most interesting actors back in those days and the actor was just terrific portaying a great villain here. To conclue, all in all, I thought it was a decent watch and it is definitely worth a look, especially if you like the genre.

I hate Braveheart with an insane passion, loathe the movie and everything it stands for. Part of that is because the nationalism on show in the film always creeped me out a bit and part of it is because it managed to eclipse this absolute gem of a film.

It's a move that is consistently in my top 50, an all time favourite and part of that is because there's a sense of verisimilitude to it. It's not a particulalry accurate film, it's depiction of Scottish/English relations at the time is a little off, but it feels real and lived in. It feels grimy and it feels real, in a way that Braveheart never did to me. In a lot of ways the film reminds me more of Last of the Mohicans than Braveheart, using fairly grounded methods to tell a fairly lyrical story.

The cast in this are great, everyone does amazing work. Tim Roth, Brian Cox, Liam Neeson and Jessica Lange in particular all do amazing work. I think Roth delivers one of the great movie villains in this film, his Cunningham an odious, loathable, hateful little bastard who nevertheless is oddly magnetic as the main antagonist. He's got this peculiar brand of non-chalant evil, where he seems to exhibit practically no effort or thought when doing truly loathable things. Neeson manages to bring warmth and humanity to a character who could be paper-thin. He's a man who prides his honour above all else and effectively plunges his clan deep into hell to protect that honour, but he makes Roy sympathetic and likeable even as the consequences of his actions are fully felt. Lange, despite a slipping accent, is just fantastic as Mary McGregor. She's got great chemistry with Neeson and a steely determination which makes some of her scenes the standout pieces of the film.

The final fight is what Rob Roy is perhaps most famous for and it is truly magnificent, nice long shots allowing you to see the full extent of William Hobbs brilliant choreography. It's a swordfight unlike anything else in cinema, with a naturalistic ebb and flow and a toll taking on both characters just by swinging the swords. It's a great technical feat. lent real emotional power by the work of Roth and Neeson.

"I love the bones of you, Robert McGregor, but you take too much to heart that canna' be helped."

At its heart, Rob Roy is Braveheart donning a new kilt distinctively suited for the thinking audience. Ultimately the film is an invigorating period adventure criminally buried and forgotten due to its meagre box office reception. In general, critics and audiences collectively bequeathed Rob Roy with acclaim and positive comments. This lavish, alluring, intriguing, brilliantly directed production was unfortunately left for dead when Mel Gibson's medieval epic Braveheart hit the big screen. As a result, the major box office earnings were instead offered to Gibson's film. Eventually Gibson's Braveheart became the talk of the town, sweeping the Oscars and developing into a more frequent recommendation via word of mouth. Rob Roy was profoundly overshadowed, and the studio eventually lost confidence in the film. Consequently this film will rarely appear as a highly regarded recommendation when it deserves to be. The intelligent scripting and solid performances from the lead actors should have guaranteed the film an opportunity to stand beside the greatest medieval-style swords-and-muskets historical adventures.

Rob Roy marks the third filming of a story loosely based on a novel by Sir Walter Scott. Originally Scott's novel became a 1922 silent film and a 1953 Disney production. Director Michael Caton-Jones crafts a spectacular rendering of the source material. He mixes classic elements of betrayal, love, courage and hardship with first-rate production values. Screenwriter Alan Sharp exercises historical facts, elements of the original novel and embellishments by his pen to create this cinematic vision.
As a notorious hero of 18th century Scotland, Robert Roy McGregor is known to have strolled through the mists of the Highlands, living by the code that made his name legendary. For his script, Sharp takes the skeletal myth and constructs a real person around those bones.

McGregor is embodied here by Irish actor Liam Neeson, with McGregor's wife played by Jessica Lange. The setting is Scotland many centuries ago when honour was a rare commodity.
Basically, Neeson's Robert Roy McGregor is an honourable man who endeavours to create a brighter future for his poor town. Faced with increasing poverty, he borrows an enormous sum of money from the duplicitous aristocrat Marquis of Montrose (John Hurt) with which he plans to use to help his clan survive a harsh winter. Enter unscrupulous fop Archibald Cunningham (Roth) who conceives other plans for the money. As the cash is being transported, Cunningham interferes and steals it for himself. This leaves Rob Roy in a massive debt he cannot repay, and the rugged Highlander is forced to take audacious action to defend his integrity.

Liam Neeson places forth a convincing portrayal as the renowned hero. The Irish actor skilfully executes a Scottish accent. Romance and drama are strong points in his performance. Never does he tread a foot wrong as we hang off every word. When it comes to the combat, Neeson's skill with a sword is outstanding. Perhaps the image of Neeson brandishing a blade won him a role in Star Wars: Episode I.
By this time Tim Roth was only chiefly recognised for Quentin Tarantino's Reservoir Dogs. With Rob Roy, the Oscar committee rewarded Roth's amazing performance as the vile antagonist with an Academy Award nomination. His screen persona from the outset is soft-spoken yet irretrievably cruel and vicious when it comes to sword-play. Better yet, among his first scenes we are informed that Roth's character penetrated a young boy whom he mistook for a girl. Roth's Cunningham is a sociopath who kills and rapes without compunction or remorse, and whose prime ambition in life is to make the best of an anguished existence in Scotland. Hunting Rob Roy gives Cunningham something to do - something he enjoys doing. While screenwriter Sharp brings much dreary historical facts to the fore in the film, Roth is the furthest thing from dreary: he's exuberant, evil and fun to watch. Flamboyant is an understatement to describe Roth's very entertaining performance.
Jessica Lange brings uncommon emotional intensity to the role of Rob's wife Mary. Both Lange and Neeson bring passion and sensuality to their challenging roles.
Veteran actor John Hurt is worth mentioning as the Marquis of Montrose with a foul agenda.
Eric Stoltz shines above his usual standard, and the forever-trustworthy Brian Cox makes a memorable (if overly brief) performance as he delivers a spiteful commentary on the proceedings.

The production values are top-notch: extraordinary costumes, extravagant cinematography and lavish landscapes breathe spectacular life into the script. Although Rob Roy is a sometimes irritatingly lengthy epic, there are some remarkable battles to behold. The final sword-fight is competently executed by the performers and filmed excellently. This fight is also riveting and moves at lightning pace.
To compliment the film's setting, there's an atmospheric musical score by composer Carter Burwell. A combination of traditional Scottish folk songs and original music form an audio tapestry that perfectly suits the wonderful visual feast on offer.
The film also benefits from Alan Sharp's smart script. The dialogue is moderately gratuitous at times, and the scenarios such as the violent battles are relentless, yet there's a poetic and lyrical sense to uncover as well.
Despite the film's reasonably brisk pacing and adequate amounts of exciting action, the length could have been trimmed down. In the long run it excessively prolongs the lead-up towards the obligatory, predictable conclusion. There's also a deficiency of subtlety in the script, i.e. we know who to root for and who to wish dead. Nearly all can be forgiven for the final sword-fight.

Overall, Rob Roy didn't stand a chance on its theatrical release due to the unreasonable overshadowing courtesy of Mel Gibson's Braveheart. By all means Rob Roy is the inferior film, but it deserves more recognition than it received. Boasting a profusion of lush scenery and high-intensity action, the film should almost certainly become an enduring classic. It's also well crafted with expert editing, solid direction and impressive cinematography. It's marginally marred by the lack of tightness in the script and perhaps it resorts to a few too many clichés too often.