Rob Roy

Michael Caton-Jones' Rob Roy (1995) was completely overshadowed by the same year's kilt-and-claymore epic, Mel Gibson's Braveheart, which is a shame. Braveheart is an enjoyable crowd-pleaser but the subdued Rob Roy is better in every way.

Rob Roy McGregor (Liam Neeson) is a reformed reiver working for the Marques of Montrose (John Hurt) in 1713 Scotland. Montrose hopes to edge out rivals like the Duke of Argyll (Andrew Kier) and employs bloodthirsty Archibald Cunningham (Tim Roth) as his hatchet man. Montrose crosses McGregor twice: first by asking him to denounce Argyll as a supporter of the ousted King James II, second when Cunningham kills McGregor's friend (Eric Stoltz) in a devious swindle. When Montrose declares McGregor an outlaw, McGregor initiates a private war with tragic consequences for all sides.

With its fine Alan Sharp script and classy production, Rob Roy is a top-shelf historical drama. Jacobite Scotland is an anarchic land, from the roving Tinkers to the devious aristocrats, where backstabbing, feudal gamesmanship and wanton violence are all bywords. Montrose uses the volatile political situation to checkmate Argyll, while Cunningham and Killearn (Brian Cox) connive to their own ends. The brutal English reprisals against McGregor's band resemble the Apache atrocities in Ulzana's Raid, another Sharp script. McGregor's uncommon honesty and "honor" stands in sharp relief against this background.

Michael Caton-Jones shows a directorial flare lacking in later efforts like The Jackal. Karl Walter Lindenlaub provides gorgeous highland scenery while the costumes, make-up and period detail have a commendable authenticity. The film lacks the giant battles which are Braveheart's raison d'être but the modest action scenes are perfectly effective. The best is a meticulously choreographed duel between McGregor and Cunningham, rivaling The Sea Hawk's finale as cinema's greatest swordfight.

Liam Neeson's never been a favorite of this blogger, but his '90s work (Michael Collins, Schindler's List) shows a skill and passion lacking in recent vehicles. Neeson is perfect as the "man of honor" disgusted with politicking and personal betrayal, making a superb protagonist. As McGregor's wife, Jessica Lange perfectly complements Neeson with a fiery, credible performance. Even when faced with the ultimate indignity Mary retains her pride without warping into a feminist avenger.

One thing Rob Roy shares with Braveheart is flamboyant villains. Tim Roth (Pulp Fiction) brings teeth-gnashing to a new level, making Cunningham an irredeemable bastard in both senses. John Hurt (A Man for All Seasons) masks his vindictiveness with foppish gentility. Andrew Keir's (Mary Queen of Scots) Duke of Argyll is marginally more likeable. Best of all is Brian Cox (Zodiac), a devious toady who tries to play all comers.

Rob Roy is an excellent movie. It's an historical film with everything one desires: great cast, great scenery, some nifty violence and a complex script to chew over.