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Braveheart
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Braveheart
Braveheart imp.jpg
Theatrical release poster

Directed by
Mel Gibson
Produced by
Mel Gibson
Alan Ladd, Jr.
Bruce Davey
Stephen McEveety
Written by
Randall Wallace
Starring
Mel Gibson
Sophie Marceau
Patrick McGoohan
Catherine McCormack
Angus Macfadyen
Brendan Gleeson
Music by
James Horner
Cinematography
John Toll
Editing by
Steven Rosenblum
Studio
Icon Productions
The Ladd Company
Distributed by
Paramount Pictures
(USA & Canada)
20th Century Fox
(International)
Release dates
May 24, 1995

Running time
177 minutes
Country
United States
Language
English
Budget
$72 million[1]
Box office
$210,409,945[1]
Braveheart is a 1995 historical drama war film directed by and starring Mel Gibson. Gibson portrays William Wallace, a 13th-century Scottish warrior who led the Scots in the First War of Scottish Independence against King Edward I of England. The story is based on Blind Harry's epic poem The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace and was adapted for the screen by Randall Wallace. It has been described as one of the most historically inaccurate modern films.[2]
The film was nominated for ten Academy Awards at the 68th Academy Awards and won five including Best Picture, Best Makeup, Best Cinematography, Best Film Editing, and Best Director.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Release and reception 4.1 Box office
4.2 Reviews
4.3 Effect on tourism
4.4 Awards and honors
4.5 Cultural effects
4.6 Wallace Monument
5 Historical inaccuracy 5.1 Ius Primae Noctis
5.2 Portrayal of William Wallace
5.3 Portrayal of Isabella of France
5.4 Portrayal of Robert the Bruce
5.5 Portrayal of Longshanks and Prince Edward
6 Accusations of anglophobia
7 Soundtrack
8 References
9 External links

Plot[edit]
In 1280, King Edward "Longshanks" (Patrick McGoohan) invades and conquers Scotland following the death of Alexander III of Scotland who left no heir to the throne. Young William Wallace witnesses the treachery of Longshanks, survives the death of his father and brother, and is taken abroad to Rome by his Uncle Argyle (Brian Cox) where he is educated. Years later, Longshanks grants his noblemen land and privileges in Scotland, including the right of the lord to have sex with a woman subject on her wedding night. When he returns home, Wallace (Mel Gibson) falls in love with his childhood friend, Murron MacClannough (Catherine McCormack), and they marry in secret so she does not have to spend a night in the bed with the English lord. Wallace rescues Murron from being raped by English soldiers, as a consequence, Murron is captured and publicly executed. In retribution, Wallace slaughters the English garrison. Wallace sends the occupying garrison at Lanark back to England.
This enrages Longshanks, who orders his son, Edward II of England, to stop Wallace by any means necessary. Wallace rebels against the English, and as his legend spreads, hundreds of Scots from the surrounding clans join him. Wallace leads his army to victory at Stirling and then sacks the city of York, killing Longshanks nephew and sending his head back. Wallace seeks the assistance of Robert the Bruce (Angus Macfadyen), the son of nobleman Robert the Elder (Ian Bannen) and a contender for the Scottish crown. Robert is dominated by his father, who wishes to secure the throne for his son by submitting to the English. Worried by the threat of the rebellion, Longshanks sends his son's wife, Isabella of France (Sophie Marceau), to try to negotiate with Wallace hoping that Wallace will kill her in order to draw the French king to declare war. Wallace refuses the bribe sent with Isabella by Longshanks, but after meeting him in person, Isabella becomes enamored with him. Meanwhile, Longshanks prepares an army to invade Scotland.
Warned of the coming invasion by Isabella, Wallace implores the Scottish nobility that immediate action is needed to counter the threat and to take back the country. Leading the English army himself, Longshanks confronts the Scots at Falkirk where noblemen Lochlan and Mornay betray Wallace. The Scots lose the battle, and Hamish's father dies after the battle. As he charges toward the departing Longshanks on horseback, Wallace is intercepted by one of the king's lancers, who turns out to be Robert. Remorseful, he gets Wallace to safety before the English can capture him. Wallace kills Mornay and Lochlan for their betrayal, and wages a guerrilla war against the English. Robert, intending to join Wallace and commit troops to the war, sets up a meeting with him in Edinburgh. However, Robert's father has conspired with other nobles to capture and hand over Wallace to the English. Learning of his treachery, Robert disowns his father. Isabella exacts revenge on the now terminally ill Longshanks by telling him she is pregnant with Wallace's child, intent on ending Longshanks line and ruling in his son's place.
In London, Wallace is brought before an English magistrate, tried for high treason, and condemned to public torture and beheading. Even whilst being hanged, drawn and quartered, Wallace refuses to beg for mercy and submit to the king. As cries for mercy come from the watching crowd, the magistrate offers him one final chance, asking him only to utter the word "Mercy" and be granted a quick death. Wallace instead shouts the word "Freedom!" and, impressed by the Scotsman's valour, the judge orders his death. Moments before being decapitated, Wallace sees a vision of Murron in the crowd, smiling at him. In 1314, Robert, now Scotland's king, leads a Scottish army before a ceremonial line of English troops on the fields of Bannockburn where he is to formally accept English rule. As he begins to ride toward the English, he stops and invokes Wallace's memory, imploring his men to fight with him as they did with Wallace. Robert then leads his army into battle against the stunned English, winning the Scots their freedom.
Cast[edit]
Mel Gibson as William Wallace
James Robinson as young William Wallace
Sophie Marceau as Princess Isabella of France
Patrick McGoohan as King Edward "Longshanks"
Catherine McCormack as Murron MacClannough
Angus Macfadyen as Robert the Bruce
Brendan Gleeson as Hamish
James Cosmo as Campbell
David O'Hara as Stephen
Peter Hanly as Prince Edward
Ian Bannen as Robert the Bruce's father
Seán McGinley as MacClannough
Brian Cox as Argyle Wallace
Sean Lawlor as Malcolm Wallace
Sandy Nelson as John Wallace
Stephen Billington as Phillip
John Kavanagh as Craig
Alun Armstrong as Mornay
Tommy Flanagan as Morrison
Michael Byrne as Smythe
Malcolm Tierney as Magistrate
Peter Mullan as Veteran
Gerard McSorley as Hugh de Cressingham
Richard Leaf as Governor of York
Mark Lees as Old Crippled Scotsman
Production[edit]
Gibson's production company, Icon Productions had difficulty raising enough money even if he were to star in the film. Warner Bros. was willing to fund the project on the condition that Gibson sign for another Lethal Weapon sequel, which he refused. Paramount Pictures only agreed to American and Canadian distribution of Braveheart after 20th Century Fox partnered for international rights.[3]
While the crew spent six weeks shooting on location in Scotland, the major battle scenes were shot in Ireland using members of the Irish Army Reserve as extras. To lower costs, Gibson had the same extras portray both armies. The opposing armies are made up of reservists, up to 1,600 in some scenes, who had been given permission to grow beards and swapped their drab uniforms for medieval garb.[4]
According to Gibson, he was inspired by the big screen epics he had loved as a child, such as Stanley Kubrick's Spartacus and William Wyler's The Big Country.
The film was shot in the anamorphic format with Panavision C- and E-Series lenses.[5]
Gibson toned down the film's battle scenes to avoid an NC-17 rating from the MPAA, with the final version being rated R for "brutal medieval warfare."[6]
In addition to English being the film's primary language, French, Latin, and Scottish Gaelic are also spoken.
Release and reception[edit]
Box office[edit]
On its opening weekend, Braveheart grossed $9,938,276 in the United States and $75.6 million in its box office run in the U.S. and Canada.[1] Worldwide, the film grossed $210,409,945 and was the thirteenth highest-grossing film of 1995.[1]
Reviews[edit]
Braveheart met with generally positive reviews. Review aggregator Rotten Tomatoes gave the film a score of 81% with an average score of 7.1/10. The film's depiction of the Battle of Stirling Bridge was listed by CNN as one of the best battles in cinema history.[7] In his review, Roger Ebert gave the film 3.5 stars out of four, writing: "An action epic with the spirit of the Hollywood swordplay classics and the grungy ferocity of 'The Road Warrior'."
In a 2005 poll by British film magazine Empire, Braveheart was No. 1 on their list of "The Top 10 Worst Pictures to Win Best Picture Oscar".[8] Scottish actor and comedian Billy Connolly claimed Braveheart was "a great piece of work".[9]
Effect on tourism[edit]
In 1996, the year after the film was released, the annual three-day "Braveheart Conference" at Stirling Castle attracted fans of Braveheart, increasing the conference's attendance to 167,000 from 66,000 in the previous year.[10] In the following year, research on visitors to the Stirling area indicated that 55% of the visitors had seen Braveheart. Of visitors from outside Scotland, 15% of those who saw Braveheart said it influenced their decision to visit the country. Of all visitors who saw Braveheart, 39% said the film influenced in part their decision to visit Stirling, and 19% said the film was one of the main reasons for their visit.[11] In the same year, a tourism report said that the "Braveheart effect" earned Scotland ₤7 million to ₤15 million in tourist revenue, and the report led to various national organizations encouraging international film productions to take place in Scotland.[12]
The film generated huge interest in Scotland and in Scottish history, not only around the world, but also in Scotland itself. Fans came from all over the world to see the places in Scotland where William Wallace fought, also to the places in Scotland and Ireland used as locations in the film. At a Braveheart Convention in 1997, held in Stirling the day after the Scottish Devolution vote and attended by 200 delegates from around the world, Braveheart author Randall Wallace, Seoras Wallace of the Wallace Clan, Scottish historian David Ross and Bláithín FitzGerald from Ireland gave lectures on various aspects of the film. Several of the actors also attended including James Robinson (Young William), Andrew Weir (Young Hamish), Julie Austin (the young bride) and Mhairi Calvey (Young Murron).
Awards and honors[edit]
The film was nominated for ten Academy Awards and won five.[13]
Won

Award
Winner
Best Picture Mel Gibson
Alan Ladd, Jr.
Bruce Davey
Best Director Mel Gibson
Best Cinematography John Toll
Best Makeup Peter Frampton
 Paul Pattison
 Lois Burwell
Best Sound Editing Lon Bender
Per Hallberg
Nominated

Award
Nominee
Best Original Screenplay Randall Wallace
Best Original Dramatic Score James Horner
Best Sound Mixing Andy Nelson
Scott Millan
Anna Behlmer
Brian Simmons
Best Film Editing Steven Rosenblum
Best Costume Design Charles Knode
American Film Institute listsAFI's 100 Years...100 Movies – Nominated[14]
AFI's 100 Years...100 Thrills – No. 91
AFI's 100 Years...100 Heroes & Villains: William Wallace – Nominated Hero[15]
AFI's 100 Years...100 Movie Quotes: "They may take away our lives, but they'll never take our freedom!" – Nominated[16]
AFI's 100 Years of Film Scores – Nominated[17]
AFI's 100 Years...100 Cheers – No. 62
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[18]
AFI's 10 Top 10 – Nominated Epic Film[19]
Cultural effects[edit]
Lin Anderson, author of Braveheart: From Hollywood To Holyrood, credits the film with playing a significant role in affecting the Scottish political landscape in the mid to late 1990s.[20]
Wallace Monument[edit]



 Tom Church's 'Freedom' statue.
In 1997, a 12-ton sandstone statue depicting Mel Gibson as William Wallace in Braveheart was placed in the car park of the Wallace Monument near Stirling, Scotland. The statue, which was the work of Tom Church, a monumental mason from Brechin,[21] included the word "Braveheart" on Wallace's shield. The installation became the cause of much controversy; one local resident stated that it was wrong to "desecrate the main memorial to Wallace with a lump of crap."[22] In 1998 the face on the statue was vandalised by someone wielding a hammer. After repairs were made, the statue was encased in a cage every night to prevent further vandalism. This only incited more calls for the statue to be removed as it then appeared that the Gibson/Wallace figure was imprisoned. The statue was described as "among the most loathed pieces of public art in Scotland."[23] In 2008, the statue was returned to its sculptor to make room for a new visitor centre being built at the foot of the Wallace Monument.[24]
Historical inaccuracy[edit]
Randall Wallace, the writer of the screenplay, has acknowledged Blind Harry's 15th century epic poem The Acts and Deeds of Sir William Wallace, Knight of Elderslie as a major inspiration for the film.[25] In defending his script, Randall Wallace has said, "Is Blind Harry true? I don't know. I know that it spoke to my heart and that's what matters to me, that it spoke to my heart."[25] Blind Harry's poem is not now regarded as historically accurate, and although some incidents in the film which are not historically accurate are taken from Blind Harry (e.g. the hanging of Scots nobles at the start) there are large parts which are based neither on history nor Blind Harry (e.g. Wallace's affair with Princess Isabelle).
Elizabeth Ewan describes Braveheart as a film which "almost totally sacrifices historical accuracy for epic adventure".[26] The "brave heart" refers in Scottish history to that of Robert the Bruce, and an attribution by William Edmondstoune Aytoun, in his poem Heart of Bruce, to Sir James the Good: "Pass thee first, thou dauntless heart, As thou wert wont of yore!", prior to Douglas's demise at the Battle of Teba in Andalusia.[27]
Sharon Krossa notes that the film contains numerous historical errors, beginning with the wearing of belted plaid by Wallace and his men. In that period "no Scots ... wore belted plaids (let alone kilts of any kind)."[28] Moreover, when Highlanders finally did begin wearing the belted plaid, it was not "in the rather bizarre style depicted in the film."[28] She compares the inaccuracy to "a film about Colonial America showing the colonial men wearing 20th century business suits, but with the jackets worn back-to-front instead of the right way around."[28] "The events aren't accurate, the dates aren't accurate, the characters aren't accurate, the names aren't accurate, the clothes aren't accurate—in short, just about nothing is accurate."[29] The belted plaid (feileadh mór léine) was not introduced until the 16th century.[30] Peter Traquair has referred to Wallace's "farcical representation as a wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early)." [31]
In 2009, the film was second on a list of "most historically inaccurate movies" in The Times.[2] In the 2007 humorous non-fictional historiography An Utterly Impartial History of Britain, author John O'Farrell notes that Braveheart could not have been more historically inaccurate, even if a "Plasticine dog" had been inserted in the film and the title changed to William Wallace and Gromit.[32]
Randall Wallace is very vocal about defending his script from historians who have dismissed the film as a Hollywood perversion of actual events.[citation needed] In the DVD audio commentary of Braveheart, Mel Gibson acknowledges many of the historical inaccuracies[citation needed] but defends his choices as director, noting that the way events were portrayed in the film was much more "cinematically compelling" than the historical fact or conventional mythos.
Ius Primae Noctis[edit]
In the film, Edward Longshanks, King of England, is shown invoking the right of Jus Primae Noctis, supposedly allowing the Lord of a medieval estate to take the virginity of his serf's maiden daughters. Critical medieval scholarship regards this supposed right as a myth, as one recent specialist has put it, "the simple reason why we are dealing with a myth here rests in the surprising fact that practically all writers who make any such claims have never been able or willing to cite any trustworthy source, if they have any."[33][34]
Portrayal of William Wallace[edit]
As John Shelton Lawrence and Robert Jewett write, "Because [William] Wallace is one of Scotland's most important national heroes and because he lived in the very distant past, much that is believed about him is probably the stuff of legend. But there is a factual strand that historians agree to", summarized from Scots scholar Matt Ewart:

Wallace was born into the gentry of Scotland; his father lived until he was 18, his mother until his 24th year; he killed the sheriff of Lanark when he was 27, apparently after the murder of his wife; he led a group of commoners against the English in a very successful battle at Stirling in 1297, temporarily receiving appointment as guardian; Wallace's reputation as a military leader was ruined in the same year of 1297, leading to his resignation as guardian; he spent several years of exile in France before being captured by the English at Glasgow, this resulting in his trial for treason and his cruel execution.[35]
A.E. Christa Canitz writes about the historical William Wallace further: "[He] was a younger son of the Scottish gentry, usually accompanied by his own chaplain, well-educated, and eventually, having been appointed Guardian of the Kingdom of Scotland, engaged in diplomatic correspondence with the Hanseatic cities of Lübeck and Hamburg". She finds that in Braveheart, "any hint of his descent from the lowland gentry (i.e., the lesser nobility) is erased, and he is presented as an economically and politically marginalized Highlander and 'a farmer'—as one with the common peasant, and with a strong spiritual connection to the land which he is destined to liberate."[36]
Colin McArthur writes that Braveheart "constructs Wallace as a kind of modern, nationalist guerrilla leader in a period half a millennium before the appearance of nationalism on the historical stage as a concept under which disparate classes and interests might be mobilised within a nation state." Writing about Braveheart's "omissions of verified historical facts", McArthur notes that Wallace made "overtures to Edward I seeking less severe treatment after his defeat at Falkirk", as well as "the well-documented fact of Wallace's having resorted to conscription and his willingness to hang those who refused to serve."[37] Canitz posits that depicting "such lack of class solidarity" as the conscriptions and related hangings "would contaminate the movie's image of Wallace as the morally irreproachable primus inter pares among his peasant fighters."[36]
Portrayal of Isabella of France[edit]
In the film, Isabella of France is shown having an affair with Wallace prior to the Battle of Falkirk. She later tells Edward I that she is pregnant, implying that her son, Edward III, was a product of the affair. In actuality, Isabella was three years old and living in France at the time of the Battle of Falkirk, was not married to Edward II until he was already king and Edward III was born seven years after Wallace died.[38][39] (This aspect of the plot may however have been inspired by the play The Wallace: a triumph in five acts by Sydney Goodsir Smith).
Portrayal of Robert the Bruce[edit]



 Mel Gibson as William Wallace wearing woad.
Robert the Bruce did change sides between the Scots loyalists and the English more than once in the earlier stages of the Wars of Scottish Independence, but he never betrayed Wallace directly, and it is unlikely that he fought, per Fordun's Chronicle, on the English side at the Battle of Falkirk. Later, the Battle of Bannockburn was not a spontaneous battle; he had already been fighting a guerrilla campaign against the English for eight years.[31]
Portrayal of Longshanks and Prince Edward[edit]
The actual Edward I was ruthless and temperamental, but the film exaggerates his character for effect. Edward enjoyed poetry and harp music, was a devoted and loving husband to his wife Eleanor of Castile, and as a religious man he gave generously to charity. The film's scene where he scoffs cynically at Isabella for distributing gold to the poor after Wallace refuses it as a bribe would have been unlikely. Edward died on campaign and not in bed at his home.[31]
The depiction of the Prince of Wales (the future Edward II of England) as an effeminate homosexual drew accusations of homophobia against Gibson.

We cut a scene out, unfortunately. . . where you really got to know that character [Edward II] and to understand his plight and his pain. . . . But it just stopped the film in the first act so much that you thought, 'When's this story going to start?'[40][better source needed]
The actual Edward II, who fathered five children by two different women, was rumoured to have had sexual affairs with men, including Piers Gaveston who lived on into the reign of Edward II. The Prince's male lover Phillip was loosely based on Piers Gaveston.
Gibson defended his depiction of Prince Edward as weak and ineffectual, saying,

I'm just trying to respond to history. You can cite other examples – Alexander the Great, for example, who conquered the entire world, was also a homosexual. But this story isn't about Alexander the Great. It's about Edward II.[41]
In response to Longshank's defenestration of the Prince's male lover Phillip, Gibson replied that "The fact that King Edward throws this character out a window has nothing to do with him being gay ... He's terrible to his son, to everybody."[42] Gibson asserted that the reason that Longshanks kills his son's lover is because the king is a "psychopath".[43] Gibson expressed bewilderment that some filmgoers would laugh at this murder.
Accusations of anglophobia[edit]
The English media accused the film of harbouring Anglophobia. The national publication The Economist called it "xenophobic"[44] and John Sutherland writing in The Guardian stated that: "Braveheart gave full rein to a toxic Anglophobia".[45][46][47] According to The Times, MacArthur said "the political effects are truly pernicious. It’s a xenophobic film."[46] The Independent has noted, "The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice".[48] Contemporary British writer and commentator Douglas Murray has described the film as "strangely racist and anti-English".[49]
Soundtrack[edit]
Main article: Braveheart (soundtrack)
The score was composed by James Horner. It was nominated for an Academy Award, Saturn Award, BAFTA, and Golden Globe Award.
References[edit]
1.^ Jump up to: a b c d "Braveheart (1995)". Box Office Mojo. Amazon.com. Retrieved 2013-02-07.
2.^ Jump up to: a b White, Caroline (4 August 2009). "The 10 most historically inaccurate movies". London: The Times. Archived from the original on 15 June 2011. Retrieved 2009-08-05.
3.Jump up ^ Michael Fleming (25 July 2005). "Mel tongue-ties studios". Daily Variety.
4.Jump up ^ Braveheart 10th Chance To Boost Tourism In Trim[dead link], Meath Chronicle, 28 August 2003. Retrieved 30 April 2007.
5.Jump up ^ Chris Probst (1 June 1996). "Cinematic Transcendence". American Cinematographer (Los Angeles, California, United States: American Society of Cinematographers) 77 (6): 76. ISSN 0002-7928.
6.Jump up ^ Classification and Rating Administration, Motion Picture Association of America. "Reasons for Movie Ratings (CARA)".
7.Jump up ^ battles/index.html "The best – and worst – movie battle scenes". CNN. 30 March 2007. Retrieved 2007-04-01.
8.Jump up ^ "Mel Gibson's "Braveheart" Voted Worst Oscar Winner". hollywood.com. Archived from the original on 2013-01-04.
9.Jump up ^ Leo Suryadinata, Nationalism and Globalism, East and West (Singapore: Institute of Southeast Asia Studies) 2000, pg 248
10.Jump up ^ Zumkhawala-Cook, Richard (2008). Scotland as We Know It: Representations of National Identity in Literature, Film and Popular Culture. McFarland. p. 147. ISBN 978-0-7864-4031-3.
11.Jump up ^ MacLellan, Rory; Smith, Ronnie (1998). Tourism in Scotland. Cengage Learning EMEA. p. 230. ISBN 978-1-86152-089-0.
12.Jump up ^ Martin-Jones, David (2009). Scotland: Global Cinema – Genres, Modes, and Identities. Edinburgh University Press. p. 14. ISBN 978-0-7486-3391-3.
13.Jump up ^ "The 68th Academy Awards (1996) Nominees and Winners". oscars.org. Retrieved 2011-10-23.
14.Jump up ^ http://www.afi.com/Docs/100years/movies400.pdf
15.Jump up ^ AFI's 100 Years...100 Heroes and Villains Nominees
16.Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2013-06-20.
17.Jump up ^ "HollywoodBowlBallot" (PDF). Retrieved 2013-06-20.
18.Jump up ^ "Movies_Ballot_06" (PDF). Retrieved 2013-06-20.
19.Jump up ^ "AFI's 10 Top 10 Ballot" (PDF). Retrieved 2013-06-20.
20.Jump up ^ Boztas, Senay (31 July 2005). "Wallace movie ‘helped Scots get devolution’ – [Sunday Herald]". Braveheart.info. Retrieved 2009-02-27.
21.Jump up ^ "Wallace statue back at home of sculptor". The Courier. 16 October 2009. Retrieved 17 October 2009.
22.Jump up ^ Hal G. P. Colebatch (8 August 2006). "The American Spectator". Spectator.org. Retrieved 2009-02-27.
23.Jump up ^ Kevin Hurley (19 September 2004). "They may take our lives but they won't take Freedom". Scotland on Sunday. Retrieved 16 October 2009.
24.Jump up ^ "Wallace statue back with sculptor". BBC News. 16 October 2009. Retrieved 16 October 2009.
25.^ Jump up to: a b Anderson, Lin. Braveheart: From Hollywood to Holyrood. Luath Press Ltd. (2005), p. 27.
26.Jump up ^ Ewan, Elizabeth. "Braveheart". American Historical Review 100, no. 4 (October 1995): 1219–21.
27.Jump up ^ "Lays of the Scottish Cavaliers and Other Poems / Aytoun, W. E. (William Edmondstoune), 1813–1865". Infomotions.com. 2004-02-04. Retrieved 2013-06-20.
28.^ Jump up to: a b c Krossa, Sharon L. "Braveheart Errors: An Illustration of Scale". Retrieved 2009-06-15.
29.Jump up ^ Krossa, Sharon L. "Regarding the Film Braveheart". Retrieved 2009-11-26.
30.Jump up ^ USA. "A History of Scottish Kilts | Authentic Ireland Travel". Authenticireland.com. Retrieved 2013-06-20.
31.^ Jump up to: a b c Traquair, Peter Freedom's Sword, HarperCollins Publishers (1998)
32.Jump up ^ O'Farrell, John (2007), An Utterly Impartial History of Britain, Doubleday, p. 126
33.Jump up ^ Classen, Albrecht (2007). The medieval chastity belt: a myth-making process. Macmillan. p. 151.
34.Jump up ^ "Urban legends website". Snopes.com. Retrieved 2013-06-20.
35.Jump up ^ Lawrence, John Shelton; Jewett, Robert (2002). The Myth of the American Superhero. Wm. B. Eerdmans. p. 163. ISBN 0802849113.
36.^ Jump up to: a b Canitz, A. E. Christa (2005). "'Historians ... Will Say I Am a liar': The Ideology of False Truth Claims in Mel Gibson's Braveheart and Luc Besson's The Messenger". In Utz, Jesse G.; Swan. Studies in Medievalism XIII: Postmodern Medievalisms. D.S. Brewer. pp. 127–142. ISBN 978-1-84384-012-1.
37.Jump up ^ McArthur, Colin (1998). "Braveheart and the Scottish Aesthetic Dementia". In Barta, Tony. Screening the Past: Film and the Representation of History. Praeger. pp. 167–187. ISBN 978-0-275-95402-4.
38.Jump up ^ Ewan, Elizabeth (October 1995). "Braveheart". The American Historical Review (Bloomington: Indiana University Press) 100 (4): 1219–21. ISSN 0002-8762. OCLC 01830326.
39.Jump up ^ White, Caroline (4 August 2009). "The 10 most historically inaccurate movies". London: The Times. Archived from the original on 15 June 2011. Retrieved 2009-08-05.
40.Jump up ^ USA Today, May 24, 1995, “Gibson has faith in family and freedom” by Marco R. della Cava
41.Jump up ^ San Francisco Chronicle, 21 May 1995, “Mel Gibson Dons Kilt and Directs” by Ruth Stein
42.Jump up ^ "Gay Alliance has Gibson's 'Braveheart' in its sights", Daily News, 11 May 1995, retrieved 13 February 2010
43.Jump up ^ Matt Zoller Seitz (May 25, 1995). "Icon: Mel Gibson talks about Braveheart, movie stardom, and media treachery". Dallas Observer. Retrieved August 19, 2013.
44.Jump up ^ "Economist.com". Economist.com. 18 May 2006. Retrieved 2009-02-27.
45.Jump up ^ world "John Sutherland". The Guardian (London). 11 August 2003. Retrieved 2010-04-26.
46.^ Jump up to: a b "Braveheart battle cry is now but a whisper". London: Times Online. 24 July 2005. Retrieved 2009-02-27.
47.Jump up ^ Colin, McArthur (2003). Brigadoon, Braveheart and the Scots: Distortions of Scotland in Hollywood Cinema. I. B. Tauris. p. 5. ISBN 1-86064-927-0.
48.Jump up ^ Burrell, Ian (8 February 1999). "Most race attack victims `are white': The English Exiles – News". London: The Independent. Retrieved 2009-02-27.
49.Jump up ^ "Douglas Murray and Michael Coren - Scottish Independence". CNN. 23 Feb 2013. Retrieved 2009-02-27.
External links[edit]
 Wikiquote has a collection of quotations related to: Braveheart
Braveheart at the Internet Movie Database
Braveheart at allmovie
Braveheart at Rotten Tomatoes
Braveheart at Box Office Mojo
Braveheart at Metacritic
Roger Ebert's review of Braveheart


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Braveheart
From Wikipedia, the free encyclopedia
  (Redirected from Braveheart (film))
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For other uses, see Braveheart (disambiguation).

Braveheart
Braveheart imp.jpg
Theatrical release poster

Directed by
Mel Gibson
Produced by
Mel Gibson
Alan Ladd, Jr.
Bruce Davey
Stephen McEveety
Written by
Randall Wallace
Starring
Mel Gibson
Sophie Marceau
Patrick McGoohan
Catherine McCormack
Angus Macfadyen
Brendan Gleeson
Music by
James Horner
Cinematography
John Toll
Editing by
Steven Rosenblum
Studio
Icon Productions
The Ladd Company
Distributed by
Paramount Pictures
(USA & Canada)
20th Century Fox
(International)
Release dates
May 24, 1995

Running time
177 minutes
Country
United States
Language
English
Budget
$72 million[1]
Box office
$210,409,945[1]
Braveheart is a 1995 historical drama war film directed by and starring Mel Gibson. Gibson portrays William Wallace, a 13th-century Scottish warrior who led the Scots in the First War of Scottish Independence against King Edward I of England. The story is based on Blind Harry's epic poem The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace and was adapted for the screen by Randall Wallace. It has been described as one of the most historically inaccurate modern films.[2]
The film was nominated for ten Academy Awards at the 68th Academy Awards and won five including Best Picture, Best Makeup, Best Cinematography, Best Film Editing, and Best Director.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Release and reception 4.1 Box office
4.2 Reviews
4.3 Effect on tourism
4.4 Awards and honors
4.5 Cultural effects
4.6 Wallace Monument
5 Historical inaccuracy 5.1 Ius Primae Noctis
5.2 Portrayal of William Wallace
5.3 Portrayal of Isabella of France
5.4 Portrayal of Robert the Bruce
5.5 Portrayal of Longshanks and Prince Edward
6 Accusations of anglophobia
7 Soundtrack
8 References
9 External links

Plot[edit]
In 1280, King Edward "Longshanks" (Patrick McGoohan) invades and conquers Scotland following the death of Alexander III of Scotland who left no heir to the throne. Young William Wallace witnesses the treachery of Longshanks, survives the death of his father and brother, and is taken abroad to Rome by his Uncle Argyle (Brian Cox) where he is educated. Years later, Longshanks grants his noblemen land and privileges in Scotland, including the right of the lord to have sex with a woman subject on her wedding night. When he returns home, Wallace (Mel Gibson) falls in love with his childhood friend, Murron MacClannough (Catherine McCormack), and they marry in secret so she does not have to spend a night in the bed with the English lord. Wallace rescues Murron from being raped by English soldiers, as a consequence, Murron is captured and publicly executed. In retribution, Wallace slaughters the English garrison. Wallace sends the occupying garrison at Lanark back to England.
This enrages Longshanks, who orders his son, Edward II of England, to stop Wallace by any means necessary. Wallace rebels against the English, and as his legend spreads, hundreds of Scots from the surrounding clans join him. Wallace leads his army to victory at Stirling and then sacks the city of York, killing Longshanks nephew and sending his head back. Wallace seeks the assistance of Robert the Bruce (Angus Macfadyen), the son of nobleman Robert the Elder (Ian Bannen) and a contender for the Scottish crown. Robert is dominated by his father, who wishes to secure the throne for his son by submitting to the English. Worried by the threat of the rebellion, Longshanks sends his son's wife, Isabella of France (Sophie Marceau), to try to negotiate with Wallace hoping that Wallace will kill her in order to draw the French king to declare war. Wallace refuses the bribe sent with Isabella by Longshanks, but after meeting him in person, Isabella becomes enamored with him. Meanwhile, Longshanks prepares an army to invade Scotland.
Warned of the coming invasion by Isabella, Wallace implores the Scottish nobility that immediate action is needed to counter the threat and to take back the country. Leading the English army himself, Longshanks confronts the Scots at Falkirk where noblemen Lochlan and Mornay betray Wallace. The Scots lose the battle, and Hamish's father dies after the battle. As he charges toward the departing Longshanks on horseback, Wallace is intercepted by one of the king's lancers, who turns out to be Robert. Remorseful, he gets Wallace to safety before the English can capture him. Wallace kills Mornay and Lochlan for their betrayal, and wages a guerrilla war against the English. Robert, intending to join Wallace and commit troops to the war, sets up a meeting with him in Edinburgh. However, Robert's father has conspired with other nobles to capture and hand over Wallace to the English. Learning of his treachery, Robert disowns his father. Isabella exacts revenge on the now terminally ill Longshanks by telling him she is pregnant with Wallace's child, intent on ending Longshanks line and ruling in his son's place.
In London, Wallace is brought before an English magistrate, tried for high treason, and condemned to public torture and beheading. Even whilst being hanged, drawn and quartered, Wallace refuses to beg for mercy and submit to the king. As cries for mercy come from the watching crowd, the magistrate offers him one final chance, asking him only to utter the word "Mercy" and be granted a quick death. Wallace instead shouts the word "Freedom!" and, impressed by the Scotsman's valour, the judge orders his death. Moments before being decapitated, Wallace sees a vision of Murron in the crowd, smiling at him. In 1314, Robert, now Scotland's king, leads a Scottish army before a ceremonial line of English troops on the fields of Bannockburn where he is to formally accept English rule. As he begins to ride toward the English, he stops and invokes Wallace's memory, imploring his men to fight with him as they did with Wallace. Robert then leads his army into battle against the stunned English, winning the Scots their freedom.
Cast[edit]
Mel Gibson as William Wallace
James Robinson as young William Wallace
Sophie Marceau as Princess Isabella of France
Patrick McGoohan as King Edward "Longshanks"
Catherine McCormack as Murron MacClannough
Angus Macfadyen as Robert the Bruce
Brendan Gleeson as Hamish
James Cosmo as Campbell
David O'Hara as Stephen
Peter Hanly as Prince Edward
Ian Bannen as Robert the Bruce's father
Seán McGinley as MacClannough
Brian Cox as Argyle Wallace
Sean Lawlor as Malcolm Wallace
Sandy Nelson as John Wallace
Stephen Billington as Phillip
John Kavanagh as Craig
Alun Armstrong as Mornay
Tommy Flanagan as Morrison
Michael Byrne as Smythe
Malcolm Tierney as Magistrate
Peter Mullan as Veteran
Gerard McSorley as Hugh de Cressingham
Richard Leaf as Governor of York
Mark Lees as Old Crippled Scotsman
Production[edit]
Gibson's production company, Icon Productions had difficulty raising enough money even if he were to star in the film. Warner Bros. was willing to fund the project on the condition that Gibson sign for another Lethal Weapon sequel, which he refused. Paramount Pictures only agreed to American and Canadian distribution of Braveheart after 20th Century Fox partnered for international rights.[3]
While the crew spent six weeks shooting on location in Scotland, the major battle scenes were shot in Ireland using members of the Irish Army Reserve as extras. To lower costs, Gibson had the same extras portray both armies. The opposing armies are made up of reservists, up to 1,600 in some scenes, who had been given permission to grow beards and swapped their drab uniforms for medieval garb.[4]
According to Gibson, he was inspired by the big screen epics he had loved as a child, such as Stanley Kubrick's Spartacus and William Wyler's The Big Country.
The film was shot in the anamorphic format with Panavision C- and E-Series lenses.[5]
Gibson toned down the film's battle scenes to avoid an NC-17 rating from the MPAA, with the final version being rated R for "brutal medieval warfare."[6]
In addition to English being the film's primary language, French, Latin, and Scottish Gaelic are also spoken.
Release and reception[edit]
Box office[edit]
On its opening weekend, Braveheart grossed $9,938,276 in the United States and $75.6 million in its box office run in the U.S. and Canada.[1] Worldwide, the film grossed $210,409,945 and was the thirteenth highest-grossing film of 1995.[1]
Reviews[edit]
Braveheart met with generally positive reviews. Review aggregator Rotten Tomatoes gave the film a score of 81% with an average score of 7.1/10. The film's depiction of the Battle of Stirling Bridge was listed by CNN as one of the best battles in cinema history.[7] In his review, Roger Ebert gave the film 3.5 stars out of four, writing: "An action epic with the spirit of the Hollywood swordplay classics and the grungy ferocity of 'The Road Warrior'."
In a 2005 poll by British film magazine Empire, Braveheart was No. 1 on their list of "The Top 10 Worst Pictures to Win Best Picture Oscar".[8] Scottish actor and comedian Billy Connolly claimed Braveheart was "a great piece of work".[9]
Effect on tourism[edit]
In 1996, the year after the film was released, the annual three-day "Braveheart Conference" at Stirling Castle attracted fans of Braveheart, increasing the conference's attendance to 167,000 from 66,000 in the previous year.[10] In the following year, research on visitors to the Stirling area indicated that 55% of the visitors had seen Braveheart. Of visitors from outside Scotland, 15% of those who saw Braveheart said it influenced their decision to visit the country. Of all visitors who saw Braveheart, 39% said the film influenced in part their decision to visit Stirling, and 19% said the film was one of the main reasons for their visit.[11] In the same year, a tourism report said that the "Braveheart effect" earned Scotland ₤7 million to ₤15 million in tourist revenue, and the report led to various national organizations encouraging international film productions to take place in Scotland.[12]
The film generated huge interest in Scotland and in Scottish history, not only around the world, but also in Scotland itself. Fans came from all over the world to see the places in Scotland where William Wallace fought, also to the places in Scotland and Ireland used as locations in the film. At a Braveheart Convention in 1997, held in Stirling the day after the Scottish Devolution vote and attended by 200 delegates from around the world, Braveheart author Randall Wallace, Seoras Wallace of the Wallace Clan, Scottish historian David Ross and Bláithín FitzGerald from Ireland gave lectures on various aspects of the film. Several of the actors also attended including James Robinson (Young William), Andrew Weir (Young Hamish), Julie Austin (the young bride) and Mhairi Calvey (Young Murron).
Awards and honors[edit]
The film was nominated for ten Academy Awards and won five.[13]
Won

Award
Winner
Best Picture Mel Gibson
Alan Ladd, Jr.
Bruce Davey
Best Director Mel Gibson
Best Cinematography John Toll
Best Makeup Peter Frampton
 Paul Pattison
 Lois Burwell
Best Sound Editing Lon Bender
Per Hallberg
Nominated

Award
Nominee
Best Original Screenplay Randall Wallace
Best Original Dramatic Score James Horner
Best Sound Mixing Andy Nelson
Scott Millan
Anna Behlmer
Brian Simmons
Best Film Editing Steven Rosenblum
Best Costume Design Charles Knode
American Film Institute listsAFI's 100 Years...100 Movies – Nominated[14]
AFI's 100 Years...100 Thrills – No. 91
AFI's 100 Years...100 Heroes & Villains: William Wallace – Nominated Hero[15]
AFI's 100 Years...100 Movie Quotes: "They may take away our lives, but they'll never take our freedom!" – Nominated[16]
AFI's 100 Years of Film Scores – Nominated[17]
AFI's 100 Years...100 Cheers – No. 62
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[18]
AFI's 10 Top 10 – Nominated Epic Film[19]
Cultural effects[edit]
Lin Anderson, author of Braveheart: From Hollywood To Holyrood, credits the film with playing a significant role in affecting the Scottish political landscape in the mid to late 1990s.[20]
Wallace Monument[edit]



 Tom Church's 'Freedom' statue.
In 1997, a 12-ton sandstone statue depicting Mel Gibson as William Wallace in Braveheart was placed in the car park of the Wallace Monument near Stirling, Scotland. The statue, which was the work of Tom Church, a monumental mason from Brechin,[21] included the word "Braveheart" on Wallace's shield. The installation became the cause of much controversy; one local resident stated that it was wrong to "desecrate the main memorial to Wallace with a lump of crap."[22] In 1998 the face on the statue was vandalised by someone wielding a hammer. After repairs were made, the statue was encased in a cage every night to prevent further vandalism. This only incited more calls for the statue to be removed as it then appeared that the Gibson/Wallace figure was imprisoned. The statue was described as "among the most loathed pieces of public art in Scotland."[23] In 2008, the statue was returned to its sculptor to make room for a new visitor centre being built at the foot of the Wallace Monument.[24]
Historical inaccuracy[edit]
Randall Wallace, the writer of the screenplay, has acknowledged Blind Harry's 15th century epic poem The Acts and Deeds of Sir William Wallace, Knight of Elderslie as a major inspiration for the film.[25] In defending his script, Randall Wallace has said, "Is Blind Harry true? I don't know. I know that it spoke to my heart and that's what matters to me, that it spoke to my heart."[25] Blind Harry's poem is not now regarded as historically accurate, and although some incidents in the film which are not historically accurate are taken from Blind Harry (e.g. the hanging of Scots nobles at the start) there are large parts which are based neither on history nor Blind Harry (e.g. Wallace's affair with Princess Isabelle).
Elizabeth Ewan describes Braveheart as a film which "almost totally sacrifices historical accuracy for epic adventure".[26] The "brave heart" refers in Scottish history to that of Robert the Bruce, and an attribution by William Edmondstoune Aytoun, in his poem Heart of Bruce, to Sir James the Good: "Pass thee first, thou dauntless heart, As thou wert wont of yore!", prior to Douglas's demise at the Battle of Teba in Andalusia.[27]
Sharon Krossa notes that the film contains numerous historical errors, beginning with the wearing of belted plaid by Wallace and his men. In that period "no Scots ... wore belted plaids (let alone kilts of any kind)."[28] Moreover, when Highlanders finally did begin wearing the belted plaid, it was not "in the rather bizarre style depicted in the film."[28] She compares the inaccuracy to "a film about Colonial America showing the colonial men wearing 20th century business suits, but with the jackets worn back-to-front instead of the right way around."[28] "The events aren't accurate, the dates aren't accurate, the characters aren't accurate, the names aren't accurate, the clothes aren't accurate—in short, just about nothing is accurate."[29] The belted plaid (feileadh mór léine) was not introduced until the 16th century.[30] Peter Traquair has referred to Wallace's "farcical representation as a wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early)." [31]
In 2009, the film was second on a list of "most historically inaccurate movies" in The Times.[2] In the 2007 humorous non-fictional historiography An Utterly Impartial History of Britain, author John O'Farrell notes that Braveheart could not have been more historically inaccurate, even if a "Plasticine dog" had been inserted in the film and the title changed to William Wallace and Gromit.[32]
Randall Wallace is very vocal about defending his script from historians who have dismissed the film as a Hollywood perversion of actual events.[citation needed] In the DVD audio commentary of Braveheart, Mel Gibson acknowledges many of the historical inaccuracies[citation needed] but defends his choices as director, noting that the way events were portrayed in the film was much more "cinematically compelling" than the historical fact or conventional mythos.
Ius Primae Noctis[edit]
In the film, Edward Longshanks, King of England, is shown invoking the right of Jus Primae Noctis, supposedly allowing the Lord of a medieval estate to take the virginity of his serf's maiden daughters. Critical medieval scholarship regards this supposed right as a myth, as one recent specialist has put it, "the simple reason why we are dealing with a myth here rests in the surprising fact that practically all writers who make any such claims have never been able or willing to cite any trustworthy source, if they have any."[33][34]
Portrayal of William Wallace[edit]
As John Shelton Lawrence and Robert Jewett write, "Because [William] Wallace is one of Scotland's most important national heroes and because he lived in the very distant past, much that is believed about him is probably the stuff of legend. But there is a factual strand that historians agree to", summarized from Scots scholar Matt Ewart:

Wallace was born into the gentry of Scotland; his father lived until he was 18, his mother until his 24th year; he killed the sheriff of Lanark when he was 27, apparently after the murder of his wife; he led a group of commoners against the English in a very successful battle at Stirling in 1297, temporarily receiving appointment as guardian; Wallace's reputation as a military leader was ruined in the same year of 1297, leading to his resignation as guardian; he spent several years of exile in France before being captured by the English at Glasgow, this resulting in his trial for treason and his cruel execution.[35]
A.E. Christa Canitz writes about the historical William Wallace further: "[He] was a younger son of the Scottish gentry, usually accompanied by his own chaplain, well-educated, and eventually, having been appointed Guardian of the Kingdom of Scotland, engaged in diplomatic correspondence with the Hanseatic cities of Lübeck and Hamburg". She finds that in Braveheart, "any hint of his descent from the lowland gentry (i.e., the lesser nobility) is erased, and he is presented as an economically and politically marginalized Highlander and 'a farmer'—as one with the common peasant, and with a strong spiritual connection to the land which he is destined to liberate."[36]
Colin McArthur writes that Braveheart "constructs Wallace as a kind of modern, nationalist guerrilla leader in a period half a millennium before the appearance of nationalism on the historical stage as a concept under which disparate classes and interests might be mobilised within a nation state." Writing about Braveheart's "omissions of verified historical facts", McArthur notes that Wallace made "overtures to Edward I seeking less severe treatment after his defeat at Falkirk", as well as "the well-documented fact of Wallace's having resorted to conscription and his willingness to hang those who refused to serve."[37] Canitz posits that depicting "such lack of class solidarity" as the conscriptions and related hangings "would contaminate the movie's image of Wallace as the morally irreproachable primus inter pares among his peasant fighters."[36]
Portrayal of Isabella of France[edit]
In the film, Isabella of France is shown having an affair with Wallace prior to the Battle of Falkirk. She later tells Edward I that she is pregnant, implying that her son, Edward III, was a product of the affair. In actuality, Isabella was three years old and living in France at the time of the Battle of Falkirk, was not married to Edward II until he was already king and Edward III was born seven years after Wallace died.[38][39] (This aspect of the plot may however have been inspired by the play The Wallace: a triumph in five acts by Sydney Goodsir Smith).
Portrayal of Robert the Bruce[edit]



 Mel Gibson as William Wallace wearing woad.
Robert the Bruce did change sides between the Scots loyalists and the English more than once in the earlier stages of the Wars of Scottish Independence, but he never betrayed Wallace directly, and it is unlikely that he fought, per Fordun's Chronicle, on the English side at the Battle of Falkirk. Later, the Battle of Bannockburn was not a spontaneous battle; he had already been fighting a guerrilla campaign against the English for eight years.[31]
Portrayal of Longshanks and Prince Edward[edit]
The actual Edward I was ruthless and temperamental, but the film exaggerates his character for effect. Edward enjoyed poetry and harp music, was a devoted and loving husband to his wife Eleanor of Castile, and as a religious man he gave generously to charity. The film's scene where he scoffs cynically at Isabella for distributing gold to the poor after Wallace refuses it as a bribe would have been unlikely. Edward died on campaign and not in bed at his home.[31]
The depiction of the Prince of Wales (the future Edward II of England) as an effeminate homosexual drew accusations of homophobia against Gibson.

We cut a scene out, unfortunately. . . where you really got to know that character [Edward II] and to understand his plight and his pain. . . . But it just stopped the film in the first act so much that you thought, 'When's this story going to start?'[40][better source needed]
The actual Edward II, who fathered five children by two different women, was rumoured to have had sexual affairs with men, including Piers Gaveston who lived on into the reign of Edward II. The Prince's male lover Phillip was loosely based on Piers Gaveston.
Gibson defended his depiction of Prince Edward as weak and ineffectual, saying,

I'm just trying to respond to history. You can cite other examples – Alexander the Great, for example, who conquered the entire world, was also a homosexual. But this story isn't about Alexander the Great. It's about Edward II.[41]
In response to Longshank's defenestration of the Prince's male lover Phillip, Gibson replied that "The fact that King Edward throws this character out a window has nothing to do with him being gay ... He's terrible to his son, to everybody."[42] Gibson asserted that the reason that Longshanks kills his son's lover is because the king is a "psychopath".[43] Gibson expressed bewilderment that some filmgoers would laugh at this murder.
Accusations of anglophobia[edit]
The English media accused the film of harbouring Anglophobia. The national publication The Economist called it "xenophobic"[44] and John Sutherland writing in The Guardian stated that: "Braveheart gave full rein to a toxic Anglophobia".[45][46][47] According to The Times, MacArthur said "the political effects are truly pernicious. It’s a xenophobic film."[46] The Independent has noted, "The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice".[48] Contemporary British writer and commentator Douglas Murray has described the film as "strangely racist and anti-English".[49]
Soundtrack[edit]
Main article: Braveheart (soundtrack)
The score was composed by James Horner. It was nominated for an Academy Award, Saturn Award, BAFTA, and Golden Globe Award.
References[edit]
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3.Jump up ^ Michael Fleming (25 July 2005). "Mel tongue-ties studios". Daily Variety.
4.Jump up ^ Braveheart 10th Chance To Boost Tourism In Trim[dead link], Meath Chronicle, 28 August 2003. Retrieved 30 April 2007.
5.Jump up ^ Chris Probst (1 June 1996). "Cinematic Transcendence". American Cinematographer (Los Angeles, California, United States: American Society of Cinematographers) 77 (6): 76. ISSN 0002-7928.
6.Jump up ^ Classification and Rating Administration, Motion Picture Association of America. "Reasons for Movie Ratings (CARA)".
7.Jump up ^ battles/index.html "The best – and worst – movie battle scenes". CNN. 30 March 2007. Retrieved 2007-04-01.
8.Jump up ^ "Mel Gibson's "Braveheart" Voted Worst Oscar Winner". hollywood.com. Archived from the original on 2013-01-04.
9.Jump up ^ Leo Suryadinata, Nationalism and Globalism, East and West (Singapore: Institute of Southeast Asia Studies) 2000, pg 248
10.Jump up ^ Zumkhawala-Cook, Richard (2008). Scotland as We Know It: Representations of National Identity in Literature, Film and Popular Culture. McFarland. p. 147. ISBN 978-0-7864-4031-3.
11.Jump up ^ MacLellan, Rory; Smith, Ronnie (1998). Tourism in Scotland. Cengage Learning EMEA. p. 230. ISBN 978-1-86152-089-0.
12.Jump up ^ Martin-Jones, David (2009). Scotland: Global Cinema – Genres, Modes, and Identities. Edinburgh University Press. p. 14. ISBN 978-0-7486-3391-3.
13.Jump up ^ "The 68th Academy Awards (1996) Nominees and Winners". oscars.org. Retrieved 2011-10-23.
14.Jump up ^ http://www.afi.com/Docs/100years/movies400.pdf
15.Jump up ^ AFI's 100 Years...100 Heroes and Villains Nominees
16.Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2013-06-20.
17.Jump up ^ "HollywoodBowlBallot" (PDF). Retrieved 2013-06-20.
18.Jump up ^ "Movies_Ballot_06" (PDF). Retrieved 2013-06-20.
19.Jump up ^ "AFI's 10 Top 10 Ballot" (PDF). Retrieved 2013-06-20.
20.Jump up ^ Boztas, Senay (31 July 2005). "Wallace movie ‘helped Scots get devolution’ – [Sunday Herald]". Braveheart.info. Retrieved 2009-02-27.
21.Jump up ^ "Wallace statue back at home of sculptor". The Courier. 16 October 2009. Retrieved 17 October 2009.
22.Jump up ^ Hal G. P. Colebatch (8 August 2006). "The American Spectator". Spectator.org. Retrieved 2009-02-27.
23.Jump up ^ Kevin Hurley (19 September 2004). "They may take our lives but they won't take Freedom". Scotland on Sunday. Retrieved 16 October 2009.
24.Jump up ^ "Wallace statue back with sculptor". BBC News. 16 October 2009. Retrieved 16 October 2009.
25.^ Jump up to: a b Anderson, Lin. Braveheart: From Hollywood to Holyrood. Luath Press Ltd. (2005), p. 27.
26.Jump up ^ Ewan, Elizabeth. "Braveheart". American Historical Review 100, no. 4 (October 1995): 1219–21.
27.Jump up ^ "Lays of the Scottish Cavaliers and Other Poems / Aytoun, W. E. (William Edmondstoune), 1813–1865". Infomotions.com. 2004-02-04. Retrieved 2013-06-20.
28.^ Jump up to: a b c Krossa, Sharon L. "Braveheart Errors: An Illustration of Scale". Retrieved 2009-06-15.
29.Jump up ^ Krossa, Sharon L. "Regarding the Film Braveheart". Retrieved 2009-11-26.
30.Jump up ^ USA. "A History of Scottish Kilts | Authentic Ireland Travel". Authenticireland.com. Retrieved 2013-06-20.
31.^ Jump up to: a b c Traquair, Peter Freedom's Sword, HarperCollins Publishers (1998)
32.Jump up ^ O'Farrell, John (2007), An Utterly Impartial History of Britain, Doubleday, p. 126
33.Jump up ^ Classen, Albrecht (2007). The medieval chastity belt: a myth-making process. Macmillan. p. 151.
34.Jump up ^ "Urban legends website". Snopes.com. Retrieved 2013-06-20.
35.Jump up ^ Lawrence, John Shelton; Jewett, Robert (2002). The Myth of the American Superhero. Wm. B. Eerdmans. p. 163. ISBN 0802849113.
36.^ Jump up to: a b Canitz, A. E. Christa (2005). "'Historians ... Will Say I Am a liar': The Ideology of False Truth Claims in Mel Gibson's Braveheart and Luc Besson's The Messenger". In Utz, Jesse G.; Swan. Studies in Medievalism XIII: Postmodern Medievalisms. D.S. Brewer. pp. 127–142. ISBN 978-1-84384-012-1.
37.Jump up ^ McArthur, Colin (1998). "Braveheart and the Scottish Aesthetic Dementia". In Barta, Tony. Screening the Past: Film and the Representation of History. Praeger. pp. 167–187. ISBN 978-0-275-95402-4.
38.Jump up ^ Ewan, Elizabeth (October 1995). "Braveheart". The American Historical Review (Bloomington: Indiana University Press) 100 (4): 1219–21. ISSN 0002-8762. OCLC 01830326.
39.Jump up ^ White, Caroline (4 August 2009). "The 10 most historically inaccurate movies". London: The Times. Archived from the original on 15 June 2011. Retrieved 2009-08-05.
40.Jump up ^ USA Today, May 24, 1995, “Gibson has faith in family and freedom” by Marco R. della Cava
41.Jump up ^ San Francisco Chronicle, 21 May 1995, “Mel Gibson Dons Kilt and Directs” by Ruth Stein
42.Jump up ^ "Gay Alliance has Gibson's 'Braveheart' in its sights", Daily News, 11 May 1995, retrieved 13 February 2010
43.Jump up ^ Matt Zoller Seitz (May 25, 1995). "Icon: Mel Gibson talks about Braveheart, movie stardom, and media treachery". Dallas Observer. Retrieved August 19, 2013.
44.Jump up ^ "Economist.com". Economist.com. 18 May 2006. Retrieved 2009-02-27.
45.Jump up ^ world "John Sutherland". The Guardian (London). 11 August 2003. Retrieved 2010-04-26.
46.^ Jump up to: a b "Braveheart battle cry is now but a whisper". London: Times Online. 24 July 2005. Retrieved 2009-02-27.
47.Jump up ^ Colin, McArthur (2003). Brigadoon, Braveheart and the Scots: Distortions of Scotland in Hollywood Cinema. I. B. Tauris. p. 5. ISBN 1-86064-927-0.
48.Jump up ^ Burrell, Ian (8 February 1999). "Most race attack victims `are white': The English Exiles – News". London: The Independent. Retrieved 2009-02-27.
49.Jump up ^ "Douglas Murray and Michael Coren - Scottish Independence". CNN. 23 Feb 2013. Retrieved 2009-02-27.
External links[edit]
 Wikiquote has a collection of quotations related to: Braveheart
Braveheart at the Internet Movie Database
Braveheart at allmovie
Braveheart at Rotten Tomatoes
Braveheart at Box Office Mojo
Braveheart at Metacritic
Roger Ebert's review of Braveheart


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