The soaring musical score during the scene seems to invite the viewer to recall domestic comforts. Inviting the audience to call up their inherent attachment to hearth and home, as if to remind the errant Scotsman of what they are truly fighting for. The background score in this scene, just prior to the "They'll never take our Freedom!" Exhortation while not misplaced in terms of cinematography in that moment the musical choice does not seem to be evocative of the type of emotions that would rouse reluctant men to battle and death. Rather the total quality or we use an emotional tapestry of soothing memory and simple pleasures, when one might argue that a harder edged sound choice might better foreshadow the carnage to come. But one might argue that the message being portrayed by the particulars of the musical undercurrents in this scene being that for untrained men to rise up as one and engage in a peril fraught, blood soaked exploit of such deadly danger they require something other than themselves for which they are fighting. Even as Wallace's speech would seem to evoke personal pride within them, to spit in the devil's eyes. Asking them if they would truly trade all of the potential days and years of complacent old age 'for one chance, just one chance,' to defy the great Martial might of England's professional army. Here we have a juxtaposition between the selfless need to fight for something greater, while at the same time asserting a piss&vinegar, 'devil may care' disregard for mortality. The portrayal of the larger war against the British is structured during the film to grant a pivotal role to the French-born princess. (played by Sophie Marceau) integral to this war effort and to the film on the whole is the Princess's journey. Her transformation from Royal pawn of perpetually feuding nations bartered away as a living stamp of approval upon a flimsy peace accord between Britain and France - to become a traitorous, adulterous Queen. In the betrayal of her unwilling vows she discovers the means to become true to herself; her personal journey of becoming. Along the way she suffers the fracturing of a variety of formerly naive notions concerning England, the family into which she has reluctantly married, (if such a loveless union can be considered marriage) the nature of the rebellion, and Long Shanks himself. Most important is the unfolding of her attitudes towards Wallace. It might be said that the characterization of the film does not fully portrayed William Wallace as a changing character. It is a hallmark of the most effective dramas to portray the journey of the protagonist, outwardly in some cases – but also inwardly as challenges and revelations compel him or (her) to transcend the person he used to be. The hero must change to become the Hero. In this film, the greatest transition we see in the character of Wallace is that of grieving child to adult. But once Mel Gibson steps onto the stage as Wallace himself, he arrives as a fully formed superman, larger than life and true to a set of ideals that elevate him above those claiming superiority by right of aristocratic station - especially the right of 'Prima Nocta'. ("The trouble with Scotland is that it's full of Scots!") Does this William Wallace have any room
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THE TROUBLE WITH SCOTLAND, A REVIEW OF MEL GIBSON’S BRAVEHEART "They may take our lives, but they'll never take our Freedom!" So resounds the voice of William Wallace as he attempts to rally his Scottish rebels for the first pitched battle of the movie. He was not 7 feet tall, nor was he able to consume the English with fireballs from his eyes and lightning from his rectum…
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