ROB ROY
A film review by Mark R. Leeper
Copyright 1995 Mark R. Leeper
Capsule: We don't get many serious films about
legendary heroes like this any more. Scotland's
famous outlaw comes to the screen as a sort of
Highland Robin Hood in a plot that would have done
Errol Flynn proud. Nicely photographed also, the
film is a pleasant surprise. Rating: +2 (-4 to +4)
Like Robin Hood, or for that matter Billy the Kid, Rob Roy (actually Robert Macgregor--nicknamed Roy for his red hair) was a real outlaw who has passed into the realm of legend and folklore. The film ROB ROY is based on these legends, though no specific source is credited. It bears little connection to the Sir Walter Scott novel of the same name, except that the same outlaw appears in the novel. Instead, the film is based on historic and legendary accounts of the outlaw, the best known of which was "The Highland Rogue" by Daniel Defoe. On a very high level, the story of the film is accurate, at least to the legends, although clearly there are pieces of other film adventures mixed into this film's plot. The stories say that he did borrow money for a cattle venture from a former employer, the first duke of Montrose, who held lands near Rob Roy's. When Rob Roy was unable to pay the loan back in 1712, he lost his home and was outlawed. To survive he turned bandit, mostly preying on Montrose and his tenants but remaining friendly with another neighbor, the duke of Argyll. Though the film invents some, this part of the plot is true to the legend of Rob Roy.
This film is the stuff of the old matinees of the 40s. The decision to make this film was likely inspired by the success of THE LAST OF THE MOHICANS, and with the exception of that film, it is a sub-genre we see too rarely these days. Too often what could be this type of film comes out more as a poorly-conceived self-satire like the bitterly disappointing ROBIN HOOD, PRINCE OF THIEVES. That film had little accuracy to the legends of Robin Hood, threw in devices like telescopes that have no place in the legends, and had a Sheriff of Nottingham playing way over the top. ROB ROY is a much more intelligent adaptation of a heroic legend.
While being the sort of larger-than-life historical heroic adventure that would have starred Douglas Fairbanks and Errol Flynn, it respects itself and its source material. The major stylistic differences include better photography, a little sex, and a fascination with the obscure (but obviously considered very important) historical fact that the period shown predated indoor plumbing.
The story is much the same as above. Rob Roy (Liam Neeson) is an occasional thief who has a strong sense of honor concerning his word. He is made an outlaw by three particularly nasty (and well-cast) screen villains, the Duke of Montrose (John Hurt), his assistant Killearn (played by Brian Cox, Hannibal Lector from MANHUNTER), and, worst of all, Archibald Cunningham (Tim Roth--Pumpkin from PULP FICTION), whose slight build and exaggerated effete, foppish manners hide a sadist and a clever strategist as well as a deadly swordsman. Rob Roy's wife Mary, more earthy and less bloodthirsty than Walter Scott's version of her, is played by Jessica Lange. The duke of Argyll is played with dignity by Andrew Keir (who played Quatermass in QUATERMASS AND THE PIT, a.k.a. FIVE MILLION YEARS TO EARTH). Finally, as a fellow clansman, is Eric Stoltz in a real departure for him. To an American ear, the Scottish accents are thick enough to make listening an effort. To me they sounded accurate, but I am willing to take a second opinion from a Scot.
ROB ROY has gotten the treatment of a big spectacular. Karl Walter Lindenlaub's camera takes full advantage of the Highland scenery, using wide screen to capture a symmetry in the mountain landscapes. His frame typically will be centered between two hills of equal height at the two sides of the frame with a pleasing downward curve between for a valley shot. That speaks of careful camera placement. He uses this pleasing symmetry of his shots to counterbalance the negative effect of the fog-shrouded mountains. The opening showing the MacGregor Clan running over the hills seems like an allusion to the opening of THE LAST OF THE MOHICANS, but in general Michael Caton-Smith goes for unusual effects. A key sword fight is done without underscoring music, leaving the actors to build the suspense rather than to have a composer create the emotion, an approach used all too rarely.
ROB ROY is a well-made heroic adventure film with a little more sex and grossness than a 1940s MGM adventure film might have had, but not more than what modern audiences expect. I give this film a +2 on the -4 to +4 scale.
Mark R. Leeper
mark.leeper@att.com
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