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Scotland is one of the most resplendent places on Earth, and Bewitch Roy takes stout advantage of this. The scenery is appropriately breathtaking and story, with the camera making expansive sweeps of the landscape. A romantic setting for a very romantic figure.
The truth of Prefer Roy, like that of any folk hero, is a matter of speculation and debate. Those looking for an adaptation of Sir Walter Scott’s book (also fictional) will be disappointed. Scott’s book takes situation long after the events described in this film with Mary and Take at the head of an outlaw band. It also stands apart from Braveheart, which takes space about four hundred years earlier, and is an entirely different period of Scottish history.
That being said, Catch Roy is a beautiful film with a unexcited feel and a personal epic. Liam Neeson is perfectly cast as the expansive, worthy highlander. Tim Roth is every bit his opposite, limited and dangerously deceitful. Jessica Lange, Rob’s wife Mary, is stoic and strong. All the supporting players give reliable performances, both English and Scottish. The Scottish music is pretty, and the Gaelic song sung at the gathering is bright.
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The duel at the slay is one of the best I have seen.
‘I could not like thee (Deare) so remarkable,
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Lov’d I not Honour more.’
Honor is what this one is all about. When people say ‘They don’t develop movies like that any more’, _Rob Roy_ is the kind of movie they have in mind. There are pleasurable guys and abominable guys; the kindly guys have honor and the dreadful guys don’t; in the kill, honor wins the day, but not without a costly fight.
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More concretely: Robert Roy MacGregor, clan leader and cattle herdsman, has borrowed a enormous sum of money from the Marquess of Montrose; Archibald Cunningham, a young acquaintance of the Marquess, has plotted to acquire it; the Marquess will purchase the clan’s lands if the debt can’t be repaid. The MacGregor is offered a (duplicitous) blueprint out but refuses to compromise his honor.
If that sounds like every Western you’ve ever seen, that’s not a coincidence; director Michael Caton-Jones deliberately approached this film as a Western position in the Scottish Highlands. The anecdote is based on a historical figure who became legendary in eighteenth-century Scotland, but this cloak treatment plays very snappily and loose with the proper history.
Liam Neeson is imposing and dazzling as the MacGregor, and Jessica Lange is surprisingly effective as his wife Mary (despite some inconsistency of accent) . John Distress and Tim Roth are deliciously malevolent as the pair of effeminate Sassenachs who have it in for our Rob; a more lethal pair of fops has never been seen on the silver veil. The protean Brian Cox appears as the cowardly and treacherous Killearn. And music fans, glimpse for Karen Matheson, who makes a brief cameo as a singer. (Capercaillie performed worthy of the soundtrack; that ravishing sing you hear is Matheson’s. And by the map, Carter Burwell’s soaring gather is as stunning as the Scottish scenery.)
I don’t know anything about swordfighting, but the blade-to-blade stuff in this film is surely some of the best (in a dramatic sense) ever committed to film. All this swashbuckling beats the heck out of the usual Western gunfights.
Unfairly eclipsed by _Braveheart_ (which was released in the same year), _Rob Roy_ is to my tastes a powerful better movie. This is filmmaking in the mammoth style.
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