MPAA Rating: R/Genre: Historical Biographical Drama/Stars: Liam Neeson, Jessica Lange, John Hurt, Tim Roth, Eric Stoltz, Andrew Keir, Brian Cox, Brian McCardie, Gilbert Martin, Jason Flemyng, Ewan Stewart, David Hayman, Shirley Henderson, Vicki Masson/Runtime: 139 minutes
So for this review, I’d like to start it off by doing something a bit on the unorthodox side. That being I would like to ask all of you a simple trivia question that I promise is important to the movie I am reviewing today though sadly I cannot promise you a significant cash prize should you get it right. With that in mind, here is the question: if I asked all of you to name the movie from 1995 that deals with a Scotsman who, through rather extraordinary yet tragic circumstances, finds himself becoming not just a hero to his people in their time of need, but also a legend for all time what would be the first one that comes to your mind? Honestly if you guessed the movie Braveheart then congratulations because that is exactly the answer I imagined you would say. Of course, is it any wonder why dear reader? I mean not only was the film a financial success grossing over 200 million dollars on a budget of 72 million, but it also was a critical success acquiring 10 Academy Award nominations and winning 5 including Best Picture and Best Director for Mel Gibson who also starred in the film. Oh and, for what it’s worth, it did also give Halls Cough Drops a new spokesperson for a period of time with how often Gibson yelled at the top of his lungs throughout the film’s 178-minute runtime. All jokes aside though dear reader, did you know that there was another slice of cinema released in 1995 that dealt with some of the same things as Braveheart especially the concept of honor albeit perhaps done in a wee bit less bloody manner and on a much smaller scale, was set in a different time period than the former and which also had none other than Liam “Man with a Particular Set of Skills” Neeson in the lead role? Aye! Tis true dear reader! In fact that slice of cinema, known as Rob Roy incidentally, also happens to be the movie I am reviewing for you today and to say that I have quite the intriguing history with this movie is a bit of an understatement. Of course, when you take into account that the first time I saw this movie it was the result of being up at 3-4 in the morning due to a triple shot of espresso I don’t know if you could call that kind of history anything but intriguing (overcaffeinated perhaps being a close second). Even with that in mind however, there is no denying that multiple viewings since then have managed to show me that this is a solid little movie. To be sure, it is by no means a perfect film nor for that matter is it even the best movie in the filmographies of those involved in the making of it. Even so however, it should be said that with the aid of dependably solid work both behind and especially in front of the camera 1995’s Rob Roy is a wonderfully riveting and splendid old-school kind of film that you are sure to enjoy time and time again
The plot is as follows: Based on an actual historical individual even if the story itself is not entirely accurate to a fair degree, Rob Roy takes us as movie goers back in time to the far-gone year of 1713 in the country of Scotland. It is here where we are rather quickly introduced to our main character in the shape and form of a man by the name of (big surprise coming your way here) Robert Roy MacGregor (or Rob Roy for short). A guy who, among other noteworthy attributes that one could learn about the man, is chief of the Scottish clan McGregor yet who, despite his leadership title, has been having a fair number of troubles from a financial-wise perspective in making enough money to feed both him and his people. As a result, we see that McGregor makes the choice to take out the (at that time) hefty loan of 1,000 pounds from one of the group of Lowland nobility that he provides aid to in terms of thwarting cattle rustlers by the name of James Graham, or the Marquess of Montrose if you prefer noble titles rather than simple yet effective names, so that he can start to raise and trade his own herds of cattle. Doing so, he figures, will not only aid him in paying back the loan, but also most assuredly help in his efforts to provide for his family and those within his clan as well. Unfortunately for our well-meaning hero, his decision to engage in this seemingly simple transaction could not have come at a worse time. This is because around the time McGregor is getting his loan from his local branch of Aristocrat Financial Union (or something to that effect) the Marquess’ nephew, one Archibald Cunningham, is being sent to live with him due to accruing quite the degree of legal woes and maladies back over in jolly ol’ England. A young man who, we are rather quick to pick up on, is not only a fairly skilled individual in the art that is swordplay to the point that dear ol’ uncle is able to make quite a bit of money off of his talents, but who also is someone who lives up to the cunning in his last name a bit too well for his own good. Perhaps this is why, upon being told by his wonderful uncle’s equally as sleazy property manager of sorts Killearn about the financial arrangement between said uncle and our hero, Cunningham decides to steal the money for himself. As a result, not only is our hero left in a bit of a financial pickle, but he is soon thereafter also declared an outlaw by Montrose despite a noble attempt by our hero to try and make things right. Thus, with Montrose’s men and Cunningham tearing up the countryside looking for him and another personal tragedy shortly thereafter hitting a bit too close to home, can our hero find a way to both keep his family safe and avenge his name to say nothing of honor? That I’ll leave for you to discover…..
Now right off, it should be said that the work done behind the camera on this slice of cinema is solid through and through in nearly every aspect. This starts with the work done by Michael Caton-Jones at the helm and, for a guy whose resume includes such titles as the vastly underrated Scandal from 1989, This Boy’s Life from 1993, 1997’s The Jackal, and (of all things) 1991’s Doc Hollywood with Michael J. Fox respectively, this slice of cinema is most assuredly a wonderful addition to the man’s creative line-up. Indeed part of what makes Canton-Jones’ work here so intriguing is not only does he do a fantastic job of giving the characters as much development as possible so that they are able to come across less as archetypes we’ve seen a million times before and more three-dimensional human beings, but he also showcases a unyielding dedication towards making sure that, whilst he does give the audience the action and thrills that they are undoubtedly here for first and foremost, he is also able to provide a fair bit of thought-provoking material on display as well to the fabric of the story being told particularly in regards to the concepts of honor, love, and the pursuit of justice respectively. As a result, not only is this a film that is sure to entertain you, but it also might leave you something to think about for quite some time as well. Alongside that, this slice of cinema also contains some truly jaw-droppingly beautiful work from the cinematography department as headed by Karl Walter Lindenlaub (1994’s Stargate and 1996’s Independence Day to name but a few examples). Indeed Lindenlaub manages to really do a grand job here of capturing the abundance of pure majesty and rocky beauty present in the country of Scotland in such a way that it not only is able to entrance the eye, but also in that it permits the locales present to feel less like the settings of our story and more so like characters in said story in their own right as well. Lastly, this section would most certainly be incomplete if I didn’t take some time within it to talk about the exemplary work done by Carter Burwell with respect to this slice of cinema’s musical accompaniment. Indeed Burwell has long been a talent who I have admired whenever he does the score for a film (2008’s Twilight notwithstanding) and here is no different as he manages to do a wonderful job at blending together both Celtic music and an orchestral element to create a score for this film that is an equal blend of majestic, sweeping, and soul-stirring in equal measure. Suffice it to say that when you also include into this distinct mix electrifying work from William Hobbs when it comes to the thrilling moments of sword play between the cast of characters with particular regard to the final duel, a wonderfully witty and moving script as penned by the gifted Alan Sharp (1975’s vastly underrated Night Moves and 1983’s The Osterman Weekend among others) plus skilled work in the editing department by Peter Honess that effectively ensures this slice of cinema’s roughly two hour and twenty-minute (including credits) runtime goes by a decent enough rate of speed that you won’t either be checking your watch in boredom or finding yourself starting to doze off, it’s clear that the work done behind the camera might not be flawless by any measure, but it is still nevertheless refreshingly solid in its execution and delivery all the same.
Alongside the solid work done by the various departments behind the camera, this cinematic outing is also the blessed recipient of equally as solid work from an undeniably talented cast of performers in front of the camera as well. Without question, this starts with Liam Neeson in the titular role and he is splendid here. Indeed as Rob, we see that Neeson is able to not only capture the man’s deep sense of honor and pride to say nothing of his strength be it of the physical or psychological variety, but also his tenacity and love for both his clan and his family in equal measure. That and I’m pretty sure, based on his skills with a sword in this, it was either this or Excalibur which inspired George Lucas to cast him as Qui-Gon in the Star Wars prequels. All joking aside, I know that most people nowadays might just think of Neeson as an entertaining action hero, but he can also be truly phenomenal actor as well and this is definitely one of his more underrated efforts. Alongside the wonderful work done here by Neeson, the film also gives us a truly memorable turn from Jessica “American Horror Story” Lange as Roy’s wife Mary. Indeed without saying too much, the character of Mary is just as crucial to the story being told as the titular protagonist so the film needed to find an actress who could be just as compelling and tough as nails whilst also not being afraid to be vulnerable should the situation call for it. Thankfully, we see that Jessica Lange is able to fulfill those requirements and then some as she does a terrific job here at not only bringing a passionate intensity to the part, but also a strength that manages to make her character one to be feared and/or admired in equal measure dependent on who she is interacting with at the time. As great as Neeson and Lange are here, they are matched incredibly well by the trio of talents portraying the villains in this film. Far and away, this starts with Tim Roth who is wonderfully detestable and sleazy here as Archie Cunningham. Indeed in the role of Cunningham, Roth is absolutely engaging in his performance of a guy who is very much a merciless psychopath, especially with a blade, and who, no matter what he’s doing, takes great delight in causing as much pain and agony as he possibly can. Suffice it to say that it’s a delightful slimy turn from an actor who has given us more than his fair share of those throughout his career. Alongside the top-tier work done here by Roth, the film also gives us a wonderful turn from the late yet brilliant John Hurt as the Marquis of Montrose. Indeed Hurt was always a class act and here he is remarkable as a guy so used to luxury and wealth that if something could benefit his pocketbook he’s more than willing to look the other way when it comes to the actions done or the people hurt in the process. Lastly, I would definitely be amiss if I didn’t take some time in this section if I didn’t praise the work done here by the iconic Brian Cox in the role of Montrose’s property manager of sorts Killearn. Indeed Cox has always been an actor who has made for a wonderful on-screen villain and here he does a terrific job at giving us one who is equal parts sneaky, despicable, and cowardly all rolled into one. Suffice it to say that when you also factor in fairly well-done efforts from such talents as Eric Stoltz, Andrew Keir, Brian McCardie, and Jason Flemyng among others it’s clear that this film might have a few hurdles to deal with, but the skill brought by this cast definitely helps make them a bit easier to get through.
All in all and at the end of the day is Rob Roy a virtually flawless slice of cinema through and through? Sadly that is most assuredly not the case though by no means due to lack of effort on the part of either cast or crew. With that in mind, is this the worst film that anyone involved on either side of the camera has ever decided to be a part of in their respective careers? Honestly if you think that dear reader then please take a seat because 2006’s Basic Instinct 2 (how that is a film which actually got made I will never know), 2012’s The Vow, or quite a few of Liam Neeson’s career choices since the first Taken back in 2008 would like to have a few words with you. All jokes aside dear reader, there is no denying that, due to both subject matter and the year in which it came out, Rob Roy is most likely going to be one film that will always be compared to a movie that may or may not be called Braveheart. In the mind of this reviewer however, not only is this comparison unwarranted, but it’s also not fair. Not just because one is aiming to be more epic in nature while the other desires to be a more intimate kind of tale. Rather, it is also because while Braveheart is the better film this doesn’t by default make Rob Roy an immediate disaster. To be sure, it has its issues here and there much like a lot of other films, but by and large this is a very solid little movie dear reader. Indeed the work done behind the camera is absolutely enthralling and the performances in front of the camera by the undeniably talented cast (with particular regard to the ones given by Neeson, Lange, Roth, Hurt, and Cox) are all engaging no matter how big or small their amount of screentime may be. Suffice it to say then that it might never be on the same level as its more iconic cinematic sibling, but even so Rob Roy “95” is still one fairly engaging and entertaining slice of cinema that fans of historical dramas and/or any of the talent involved are sure to enjoy like a nice refreshing glass of Scotch time and time again. Make of that what thou will dear reader. On a scale of 1-5 I give Rob Roy “95” a solid 3.5 out of 5.
