The Patriot Review
by Laura Clifford (lcliffor AT genuity DOT net)June 29th, 2000
THE PATRIOT
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South Carolina. 1776. Benjamin Martin (Mel Gibson), a farmer and furniture maker, is a pacifist. A hero in the French and Indian War, the recently widowed planter has seven children to raise and the rebellion is not for him or his family. Even when his eldest son, Gabriel (Heath Ledger), goes off to join the rebel militia, ashamed of his father, Ben steadfastly maintains his isolationism. But, fate takes a hand and, after a violent battle between British regulars and the rag-tage rebels at Martin's front door, a cruel, sadistic British officer, Col. William Tavington (Jason Isaacs), brutally guns down one of the farmer's sons, sparking revenge and revolution in "The Patriot."
ROBIN:
Director/co-executive producer Roland Emmerich has been the master of the cliche since his American debut with the Jean-Claude Van Damme-er "Universal Soldier." He continued his record with "StarGate," "Independence Day" and "Godzilla." While the latter film was not all that successful, it and the others gave Emmerich the clout to helm a big budget, Revolutionary War actioner starring Mel Gibson and a cast of thousands. Despite the budget and star, the director has, once again, made another formulaic, cliche-ridden flick.
The American rebellion against King George is an admirable backdrop for the routine story by Robert Rodat ("Saving Private Ryan," another routine tale), that could have been called "Braveheart 2." The peaceful Benjamin is driven to the brink and beyond by a sadist who does something really cruel (and stupid) to incense the hero to action. Lots of fighting takes place and just deserts are delivered in the end and all the rebels live happily ever after. From the beginning to the end, you know the story before it happens. There were moments where the tale could have taken an interesting twist, but never does. Originally, "The Patriot" was supposed to be based on the exploits of Francis Marion, The Swamp Fox, but political correctness, due to some nefarious deeds by Marion, made the makers switch to a fiction with only a real life backdrop of the Revolutionary War.
There are three things, though, that put "The Patriot" a notch above the rest of Emmerich's oeuvres - the aforementioned bucks, the star power and draw of Mel Gibson, and one of the best production teams I have seen behind the camera. The technical staff involved helps to overshadow the oft-used tale and, through the magic of movement on screen, succeed in recreating the look and feel of the period and of war.
Emmerich has assembled an often-awarded team of film crafters and their collective experience is obvious in the finished product. Foremost is the dazzling photography by the brilliant Caleb Deschanel ("The Natural," "Fly Away Home"). The lenser has always been a favorite of mine and has given the movies he shoots the most beautiful and striking images one will ever see on the screen. His fine eye for composition makes "The Patriot" one of the best looking films of the year. The huge, panoramic battle scenes are crystal clear and visually stunning. His close-up photography of the fighting is fast, furious and frightening in its intensity. Even routine scenes have an artistry in how they are photographed.
Lending, strongly, to the look and period feel are the production design by Kirk M. Petrucelli ("Mystery Men") and costuming by Deborah L. Scott (Oscar-winner for "Titanic"). The scope of "The Patriot" production is awesome and these folks and their creative teams provide Class A work. Attention to details - and the use of "recreators" as extras, fans of the Revolutionary War who spend their free time recreating battles for the sheer fun of it - is a major plus and propels the film beyond mediocrity.
The principle cast is OK, not great. Mel gives a cookie cutter perf, but is still damn good looking and carries the physical demands of the role with his usual ability. Heath Ledger made a nice little splash in his American debut flick, "10 Things I Hate About You," and has an amiable likableness but lacks the intensity needed for his character Gabriel. Jason Isaacs is wickedly wicked as the evil bad guy, Col. Tavington - I realize that atrocities happen in war, but this guy is a mix of all the bad traits of Genghis Khan, Adolph Hitler, Vlad the Impaler and Lizzy Borden rolled into one. No wonder the English press is up in arms over the way the Brits are depicted here.
Supporting cast is peppered with solid actors who help, thankfully, to flesh out the background characters. Chris Cooper ("October Sky") gives credence as the embattled rebel commander, Col. Harry Burwell, who is struggling to defeat the enemy against enormous odds. Tcheky Karyo is amusing as the lead element of French assistance to the American Cause. He's no one-man army, but provides the needed wit against the French jokes delivered periodically through the film. Tom Wilkinson gives his General Cornwallis a pompous arrogance of empire that rings true. Minor characters, like volunteer John Billings (Leon Rippy), add dimension to the background cast. One false note is Joely Richardson in her vacuous perf as Ben's sister-in-law (and love interest), Charlotte Selton.
"The Patriot" is a mixed bag of a film. The tale is unoriginal and unimaginative, but the depiction of the mundane story is handled in an outstanding manner. The sheer force of the technical, artistic side of the movie overshadows its trite tale of revenge. Even at 160 minutes long, I was visually entertained, at least, and I give it a B.
LAURA:
Producer (Mark Gordon) and screenwriter (Robert Rodat) of "Saving Private Ryan" team up with the director (Roland Emmerich) of "Independence Day" on a tale based on French and Indian War hero Benjamin Martin's (Mel Gibson) stand to keep himself and his family peaceful and safe during the American Revolution. 'Why should I trade a tyrant 3,000 miles away for 3,000 tyrants a mile away?' he asks when declaration of war is being debated. A recent widower with seven children ranging from pre-toddler to eighteen, Martin is also haunted by the brutality both endured and inflicted during his legendary heroics at Fort Wilderness, reminding less experienced men that 'this war will be fought amongst us...your children will learn of it with their own eyes.'
His words turn out to be very prophetic, as the war can soon be viewed from his South Carolina home's wraparound porch. His eldest, Gabriel (Heath Ledger, "10 Things I Hate About You"), who enlisted against his father's wishes, crawls back into his home wounded. The Martins and their free black workers tend the fallen from both sides of the battle, when Colonel Tavington (Jason Isaacs, "The End of the Affair") arrives and instructs his men to gather up the sticken British and massacre the enemy wounded. Gabriel's taken prisoner and his fifteen year old brother Thomas attempts to save him. Tavington shoots the boy in front of his father's eyes. Benjamin Martin now has red-hot revenge burning in his brain.
First, Martin spirits a new legend, that of The Ghost, by slaying twenty departing British officers (with the assistance of young sons Matthew and Samuel, the latter of which is traumatized by the event) in order to free Gabriel. Then he forms a militia with the aid of his old friend Colonel Henry Burwell (Chris Cooper, "October Sky") and Frenchman Major Jean Villeneuve (Tcheky Karyo, "Addicted to Love"), claiming his son Gabriel in the bargain. Martin's men are so successful, they capture the attention of General Cornwallis (Tom Wilkinson, "The Full Monty") himself, whom Martin outwits in a clever prisoner exchange gambit. Cornwallis' pride is so damaged, he orders the uncivilized and ungentlemanly Tavington to use any means necessary to take Martin down.
Technically, "The Patriot" is first rate, featuring gorgeous cinematography by Caleb Deschanel ("The Natural") realistic period design by Kirk M. Petruccelli ("Blade") and costume by Deborah L. Scott ("Wild Wild West"), although John Williams' score is forgettable. Special effects include a cannonball hurtling directly at the audience, brutal battle scenes and their aftermath, and seamless matte shots - beautiful work.
Acting is a mixed bag. While Gibson is good in the role it seems like a second rate William Wallace for him. I for one am tired of seeing Gibson's tortured face as once again his character is called upon to endure unspeakable horrors, yet the man does convincingly play a heroic leader. Heath Ledger acquits himself nicely as the son learning the complexities of his father and of life, although frankly, I found him more interesting in his teenage romantic comedy debut. Tcheky Karyo is always a pleasurable addition and his reactions to Gibson's French baiting lend a believable amount of levity. Wilkinson is a fine Cornwallis. Leon Rippy ("Stargate") is another good sidekick for Mel as farmer recruit John Billings and Adam Baldwin has an interesting 'almost cameo' as Captain Wilkins, an American loyal to the Brits. The women don't fare as well, with Gibson's love interest, Joely Richardson (as his sister-in-law Charlotte Selton) delivering her lines as if she had marbles in her mouth and newcomer Lisa Brenner (as Gabriel's fiance Anne Howard) being far too modern for the period.
The villain of the piece, Jason Isaac's Tavington, is a fatal flaw of multiple dimensions. Tavington is an unrelenting sadist whose only motivation appears to be greed. The actor was more than likely instructed to play the part broadly, so fault lies more properly with the filmmakers who chose to use every cliche in the book in making this film. In a war fought by thousands, it's a foregone conclusion that Tavington and Martin will come head to head at every crucial moment until a climatic last stand. Tavington even gets a "Halloween" moment, 'rising from the dead' as soon as his opponent drops his weaon (always the telltale sign). It's sad to admit, but I was hoping our hero was decapitated against the backdrop of an American flag just to break the tedium of 'been there, done that.'
"The Patriot" certainly isn't a bad film, just one that shows its commercial molding all too blatantly. Audiences who haven't been exposed to a lot of movies will more than likely enjoy it tremendously. It has craftmanship of the highest order in its look and sound and many scenes, particularly the ones that take advantage of Gibson's comedic talents, play very well.
B-
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