THE PATRIOT
Rated R - Running Time: 2:44 - Released 6/28/00
The Patriot is an epic war movie in every way, from
its nearly three-hour running time to its cast of thousands to
its beautiful scenery to its brutal and emotionally charged battle
scenes. It's the story of a war veteran turned family man who
is forced to take up arms when his children are threatened during
the American Revolution. Mel Gibson's performance doesn't live
up to the grandeur of this film, but he has his moments, and the
talent that surrounds him tends to create a buoying effect. The
film is directed by disaster-lover Roland Emmerich (Independence
Day, Godzilla), a notable
step up for him, and written by Robert Rodat (Saving
Private Ryan), a definite step down. Rodat's screenplay
is adequate at best; there are times when one feels as if one
is watching an after-school special.
Benjamin Martin (Gibson) is a South Carolina landowner and
veteran of the French and Indian war, and at the film's outset
in 1776, we see him putting away his Cherokee tomahawk while asking
God for forgiveness. Now that his wife has died, leaving him with
seven children, he feels no desire to join in the impending struggle
against the hated British. But his eldest son Gabriel (Heath Ledger)
is more hawkish in his politics; he enlists without his father's
permission and is soon taken prisoner. During a scuffle involving
his capture, the brutal British Colonel William Tavington (Jason
Isaacs) not only orders the boy's death, but kills Benjamin's
second son, Thomas (Gregory Smith). This re-ignites Benjamin's
killer instinct, and he ambushes a group of 20 redcoats, earning
him the nickname "The Ghost." Next he is heading up
the local chapter of the South Carolina militia, with a ragtag
group of friends, farmers, and former slaves, as well as his own
son Gabriel following his lead. So begins a bitter rivalry between
Benjamin and Col. Tavington that lasts for the remainder of the
war.
This film is beautifully shot; Emmerich's directing choices
mesh nicely with Caleb Deschanel's cinema (Anna
And The King) for a piece rich with flavor and authenticity.
Deborah Lynn Scott's costume design (Titanic)
and John Williams's music add majesty to the proceedings. It's
a pity the film's star doesn't do more to deserve such a vehicle.
Gibson's delivery is uncomfortable during the moments when he's
supposed to be enveloped in familial love — ironically, the
battle scenes (you know, the ones where he's supposed to be uncomfortable)
are where he seems most at ease. On the other hand, good performances
explode all around him like so many cannonballs landing on the
field: Ledger distinguishes himself well as Gabriel, showing not
only the fierce war stance of an incensed teen, but the playful
charm of a lover as well. Chris Cooper puts forth another heartfelt
performance as Benjamin's friend and fellow veteran Col. Harry
Burwell, the commander of the regular Continental army. Isaacs
is over-the-top evil as the villainous Tavington, and Tom Wilkinson
is studied and regal as the proud-but-beleaguered British General
Cornwallis. Rene Auberjonois plays Benjamin's chaplain like Father
Mulcahy from M*A*S*H*, and lastly, Joely Richardson is
fetching, with just a hint of sex, as Benjamin's sister-in-law
Charlotte.
Like Gibson, Rodat's script seems most comfortable on the battlefield, with thrilling scenes of gore and mayhem, and an interesting take on the invention of guerrilla warfare. During many of the interior scenes, however, especially a recuitment scene in church, one must make a conscious effort to stifle a gag. ****