The Patriot

Release Date: July 2nd, 2000

Cast :

Directors: Roland Emmerich

Reading about history is not necessarily the most exciting thing in the world to do.  Seeing historical events brought to life is another story.  When a third dimension is given to the words on a page, a truly amazing transformation happens.  Those hollow, boring facts have suddenly been given an infusion of excitement.  The Patriot is, in its best moments, a historical pop-up book with an emotional and inspiring perspective.  By taking a step behind the words, and into the lives of the founders of this great country, it gives a comprehensible look into the lives behind the actions. At its worst, it is yet another grandiose attempt to create an epic vision.  The staple requirements are there, delivered quite well, but in the end, it lacks that original push to help it stand out from the pack.

Amazingly, The Revolutionary War is a topic that has not really been tackled in cinema over the years.  The fact that none come to mind, reflects the wasted potential that Roland Emmerich and crew were attempting to tap into with this story.  The setting is South Carolina, in the year 1775.  The air is full of rebellion and warfare, while the ground is littered with heroes.  Gibson plays one such hero who has lived through his tales, but is not very eager to tell them.  He has decided to settle down and focus on the most important thing in his life, his family.  He demonstrates the sincerity of his volition at a governmental meeting to decide on the states support of the Revolution.  Despite his protestations, the measure passes and the fervor of rebellion hits too close to home.  His eldest son elects to enlist in the Continental Army, against his father’s best wishes.  What happens next is fairly predictable, but not overdone.  Gibson is lured out his familial induced retirement when the well-being of his family is threatened, instigated by events involving his sons.

The screenplay, by Saving Private Ryan scribe Robert Rodat, does a masterful job of downplaying the acts of war, and focusing more on the why’s of what these men did, as opposed to their actions.  The focus is put onto these men who fought of necessity rather than duty. These were men who were driven to fight by their passion and vengeance rather than loyalty.  These were men who fought their country for the cause of freedom to provide a home and protection for their family. The story balances the fictional tale with actual events, thereby eliciting sympathy while giving a history lesson and telling a vivid tale of who our founding fathers were.   Rodat and Emmerich mix in perfect touches of humor, which are never unnecessary, definitely unexpected and are a surprisingly entertaining touch in the midst of the emotional and powerful faire.  Unfortunately it does fall prey to some of the predictable elements of any film that sets out to be an epic.  The violent depictions are reminiscent of Gladiator and Braveheart with the shock value of Saving Private Ryan.  Everyone knows that war is hell and that it is bloody and violent.  It doesn’t necessarily need to be graphically depicted.  Show it to the audience, but don’t hammer them into a numb, eye-covering submission with it.  A nice middle ground needs to be found. The battle scenes seem a touch too spectacular, the dramatic scenes seem to have a tad bit of emotional heartstring tugging and the progression follows the standard epic film storyline.  None of these detract from the overall power and effect that the film will have.

Another key to the effectiveness of the film lies in the performances. First and foremost is Gibson. Because of his accent and early presence in Australian films, most people forget that Gibson was born and raised in the good old USA (Peekskill, NY to be exact).  Gibson’s spirit and patriotism shows through in his impassioned performance.  The trademark eyes breathe red, with anger, white, with passion, and blue, with sadness.  His chemistry with, and love for, his family is genuine and heartfelt.  The sophomore effort of Heath Ledger establishes that he is truly more than just another pretty face.  He can easily pass for the son of Gibson in both looks, and the spirit and passion of his performance.  Jason Isaacs is deliciously wicked as Tavington, the British bad guy.  Isaacs succeeds by knowing how and when to scowl, wince or alter his vocal tones to elicit disdain. His performance always teeters on going over the top, but never does.  Most notable amongst the supporting cast are Chris Cooper, as Gibson’s friend and fellow soldier and Tom Wilkinson as the infamous Cornwallis.  These performances bond and maintain the sense and spirit of the film.

There are several issues that bring the historical accuracy of the film into question.  The inconsistency of the portrayal of Tavington and lack of focus on slavery, and American Indian presence during this era may raise an eyebrow or two amongst historians and social groups.  However this is a movie based upon and around events, so a minute amount of dramatic license is allowed.

Ultimately, The Patriot is a multi-layered lesson in the importance of history and family.  Historical films notably go one of two directions.  Either they focus on the event and forget the people behind it, or vice versa.  Emmerich and company have found a near perfect balance of everything in the film.  The emotions range from humor to sadness, the story teaches and preaches, and the actors all know their places and fill them successfully.  While it slightly fails to be the epic desired, it almost absolves Emmerich for Godzilla. ($$$ out of $$$$)

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