FILM · 1995 · USA
Braveheart
- Directed by
- Mel Gibson
- Runtime
- 178 min
- Studio
- The Ladd Company, Icon Productions, Icon Entertainment International
432 archived facts 8 topics 1 source Last reviewed Nov 2026
Enraged at the slaughter of Murron, his new bride and childhood love, Scottish warrior William Wallace slays a platoon of the local English lord's soldiers. This leads the village to revolt and, eventually, the entire country to rise up against English rule.
432 Interesting Facts About Braveheart
Interesting Facts (36)
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"Primae noctis," in which a nobleman has the right to have sex with a common man's bride on her wedding night, has never been used in the history of Britain or Ireland. It would have encouraged rebellions in newly-conquered territories that were already difficult to govern. It was more common on the continent, notably France.
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Randall Wallace would soon become a father for the first time, so in order to be able to tell his children about their heritage one day, he started to learn about his family history. He traced their origins back to Edinburgh, and during a visit there in 1983, he came across a statue of William Wallace outside Edinburgh Castle. He had never heard of the 14th-century figure who shared his name, but was intrigued enough by the stories told to him about "Scotland's greatest hero" to research the story as much as possible. This eventually led to him writing a script for a potential movie.
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When speaking with Isabella before his execution, William Wallace delivers the famous quote "Every man dies--Not every man really lives." This famous quote, commonly attributed to the "Braveheart" character, was actually authored by 19th-century American poet William Ross Wallace, famous for writing the poem "The Hand That Rocks The Cradle Is The Hand That Rules The World". He has no relation to the William Wallace in the film.
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Contains a major spoiler — show
Was voted the second "Most Historically Inaccurate Movie" by The Times, third by Ranker, and fourth by ScreenRant. Major points of contention were: William Wallace, a landowner and minor knight in real life, presented as a poor villager; his relationship with Queen Isabella (who was around 5-years-old at the time of his death); anachronistic garments and traditions, such as kilts, face-painting, and battle tactics. Some of the other inaccuracies include: Scotland had only been occupied by England for a year prior to Wallace' rebellion; history is unclear about Wallace having had a wife, but there is certainly no mention of her having been killed by the English; Robert the Bruce actually bore the nickname Braveheart, not Wallace; although he would often change his allegiance, he did not directly betray Wallace; Longshanks died on a campaign two years after Wallace' execution; the execution itself was much more graphic than insinuated, involving emasculation and evisceration. Both screenwriter Randall Wallace and director/actor Mel Gibson have acknowledged these deviations from reality, but maintain that they were inspired by the myth surrounding Wallace, and wanted to tell a cinematically compelling story rather than a history lesson.
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As many as 1,600 extras were used for the battle scenes. Most of the reservists were members of the FCA, the Irish Army reserve. Different companies often came from the same region, and rivalry was common. It appears some battle scenes turned out far more realistic than intended, as rival companies tried to outdo one another.
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The "Primae noctis," the right of a nobleman to have sex with a commoner's bride on her wedding night, was never practiced in British or Irish history. It would have encouraged rebellions in newly conquered and already hard-to-govern regions. It was more common on the continent, especially in France.
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Randall Wallace was soon to become a father for the first time, so he began learning about his family history in order to one day tell his children about their heritage. He traced his origins back to Edinburgh, and during his 1983 visit he came across a statue of William Wallace outside Edinburgh Castle. He had never heard of the 14th-century figure who shared his name, but the stories told to him about "Scotland's greatest hero" interested him enough to research the story as much as he could. This eventually led him to write a screenplay for a potential film.
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Mel Gibson was on the set of Ransom (1996) when Braveheart (1995) and Apollo 13 (1995) were both nominated for Best Picture. He pranked Apollo 13 director Ron Howard and producer Brian Grazer by placing an ad claiming that Braveheart was being considered for "Best Moon Shot." The accompanying image was a photograph of the Scottish army chasing the English.
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The film completely omits Andrew de Moray (Murray), Sir William Wallace's real-life lieutenant, who was considered as important as Wallace in resisting the English at the time. De Moray raised his own army, joined it with Wallace's, and together they successfully defeated the English at the Battle of Stirling Bridge. De Moray was chosen as a Guardian of Scotland alongside Wallace, but he soon succumbed to wounds he had received during the fighting. The character of Hamish Campbell (Brendan Gleeson) is generally based on de Moray.
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Screenwriter Randall Wallace initially planned to begin the story with William Wallace's adulthood, but when he got stuck he started writing a prologue about William's childhood purely as a writing exercise. He based the element of William being taken away by his uncle on the fact that one of his own uncles had once adopted an orphaned local boy. He also reasoned that none of the adults at the funeral would comfort young William, because doing so would make them feel obliged to take responsibility for the child, and that a young girl (Murron) was therefore needed to comfort him. When Randall first wrote the sequence, he had Murron give William a rose, but someone who read the script pointed out that the rose, England's traditional symbol, would be inappropriate as a prominent feature in the story, and it became a thistle (the symbol of Scotland) instead. In the later scene where William hands something to Murron, he initially did not know what it would be until he remembered the thistle and realized it was perfect.
- #029
At the Battle of Falkirk (22 July 1298), the English army was personally led by King Edward I, who decisively defeated the Scots as depicted in the film. The real King Edward I was a military genius who had learned battle tactics while fighting the Mamluks, a Muslim military caste in the Middle East, during the Eighth and Ninth Crusades. The use of long spears to stop the English cavalry charge was actually employed at the Battle of Falkirk rather than at the Battle of Stirling as depicted. One of the reasons Edward won the Battle of Falkirk was that the Scottish cavalry did not come to the aid of the infantry, as in the film.
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When members of Clan MacGregor try to join Wallace's rebellion against the English, the MacGregor chief mildly insults Wallace and his men by saying "Amadans." "Amadan" means "fool" or "idiot" in both Scottish Gaelic and Irish. Thus the MacGregor chief calls Wallace and his men fools both for resisting the English and for not inviting the MacGregors to join the rebellion.
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Mel Gibson had to tone down the film's battle scenes to avoid an NC-17 rating from the MPAA. The final version was rated R for "brutal medieval warfare." Gibson and editor Steven Rosenblum initially had a 195-minute film, but Sherry Lansing, then president of Paramount, asked Gibson and Rosenblum to cut it down to 177 minutes. In a 2016 interview with Collider, Gibson said a four-hour version of the film exists and that he would be interested in reassembling it if both Paramount and Fox were interested.
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Production Story (165)
- #037
Mel Gibson had to tone down the film's battle scenes to avoid an NC-17 rating from the MPAA. The final version was rated R for "brutal medieval warfare." Gibson and editor Steven Rosenblum initially had a film at 195 minutes, but Sherry Lansing, who was the head of Paramount at the time, requested Gibson and Rosenblum to cut the film down to 177 minutes. According to Gibson in a 2016 interview with Collider, there is a four-hour version of the film, and he would be interested in reassembling it if both Paramount and Fox are interested.
- #038
Randall Wallace was about to become a father for the first time, so in order to be able to tell his children about their heritage one day, he started to learn about his family history. He traced their origins back to Edinburgh, and during a visit there in 1983, he came across a statue of William Wallace outside Edinburgh Castle. He had never heard of the 14th-century figure who shared his name, but was intrigued enough by the stories told to him about "Scotland's greatest hero" to research the story as much as possible. This eventually led to him writing a script for a potential movie.
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Scottish singer Fish (best known as the lead singer of the British rock band Marillion in the 1980s) was offered a role in the film, but it clashed with his tour to support his 1994 solo album "Suits". He later expressed sadness about this because it "could have been a big move" in his acting career.
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During post-production, Mel Gibson and editor Steve Rosenblum were grappling with a hefty 195-minute (3 hrs., 15 min.) cut, which was way too long for a general release print. When Paramount Pictures executive Sherry Lansing intervened, she suggested which portions she felt should be cut. This initially irked both men, who resented being admonished by a female producer. After some revisions of their cut, however, both eventually agreed that Lansing's suggestions were the right way to go, and they reduced the running time to two hours and 58 minutes.
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In response to criticism about the movie's many artistic liberties, screenwriter Randall Wallace said that he had very little historical evidence to work with in regard to William Wallace's life. He has noted that even Winston Churchill's definitive work "A History of the English Speaking Peoples" observed in only a single line that virtually no factual material survives about the Scottish leader. Because of this, Randall relied heavily on the fifteenth century romantic poem "The Wallace" by Scottish writer Henry the Minstrel ("Blind Harry") in constructing his story. On the Bluray bonus features, Randall acknowledges that there are bound to be historical errors: Blind Harry wrote his poem over 150 years after William's death in an effort to save his deeds for future generations (as William was already starting to fade into obscurity during Harry's lifetime), so he had to rely on oral tradition and other secondary sources. Many of those have been lost to history (or may in fact have never existed), so Harry likely made many embellishments. For example, in descriptions of William's wife Marian ('Murron'), she suspiciously has the same name as Harry's own neighbor, and several battles that are mentioned have never been referenced in other contemporary works. Randall said that he purposely omitted passages that describe William temporarily leaving Scotland for France and even Vatican City after the battle of Falkirk.
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The few historic sources that mention William Wallace's personal life are unclear about whether he was married and even his supposed wife's name. In the poem that he is most famous for, a revision made a few centuries after his death mentions a wife named Marian, but it is believed that the name was changed to "Murron" for the film to avoid confusion with the Robin Hood character of the same name.
- #053
No one knows if the real William Wallace actually spoke to the Scots before the big battle; Randall Wallace said "I wrote what gave me goose bumps." Even though no evidence exists for it, the rousing speech and especially the line "They may take our lives, but they'll never take our freedom" has become one of the most quoted (and parodied) in movie history.
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Mel Gibson, who had been heavily criticized for a December 1991 interview with a Spanish magazine, was accused of homophobia for the film's portrayal of the Prince of Wales (and future King Edward II) as an effeminate homosexual. There is strong disagreement among historians as to whether Edward II, who fathered at least five children, was homosexual or even bisexual at all. The scene where Edward I threw his son's lover out of a castle window was particularly criticized for inciting homophobia. The lover was based on Piers Gaveston, who was also married; many historians believe these stories of Edward's homosexuality were invented by the King's enemies in order to discredit him. Gibson refused to apologize for the controversy in a 1995 interview with "Playboy" magazine while promoting the movie. However, in January 1997 he did agree to host a summit for representatives of gay rights organization GLAAD (Gay and Lesbian Alliance Against Defamation) on the set of Conspiracy Theory (1997). The leaders of GLAAD noted they were disappointed that he did not apologize to them for the film's alleged homophobia. In a 1999 interview with "The Daily Telegraph" Gibson acknowledged "regret" over his controversial 1991 interview, claiming he had been drinking vodka at the time and that his words had frequently been used to criticize him.
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Mel Gibson later said regarding this film, "Some people said that in telling the story we messed up history. There probably were historical inaccuracies--quite a few. But maybe there weren't, who's to say, because there was very little history about the man. It wasn't necessarily authentic. In some of the stuff I read about him, he wasn't as nice as he was on film. We romanticized it a bit, but that's the language of film--you have to make it cinematically acceptable. Actually, he was a monster--he always smelled of smoke because he was always burning people's villages down. He was like what the Vikings called a 'berserker'. But we kind of shifted the balance a bit, because somebody's got to be the good guy and somebody the bad guy, and every story has its own point of view. That was our bias."
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First Assistant Director David Tomblin had previously worked on Danger Man (1960) and The Prisoner (1967) and was a close personal friend of Patrick McGoohan. He suggested McGoohan for the role of Edward Longshanks to Mel Gibson after Gibson rejected the likes of Sean Connery, Ian McKellen and Patrick Stewart.
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Randall Wallace opted to do specific historical research after he completed his screenplay, because he wanted to capture the drama of the story first and input historical details later. Many elements in the movie are based on the 1477 poem "The Wallace," and Randall defended himself against claims of the movie's historical inaccuracy by saying that the script is only his dramatic interpretation of the story, as was his source material, which was written 172 years after the facts. He also said that the authors of surviving historical documentation were rarely impartial, explaining why English sources are often written with strong anti-Scottish sentiments, and vice versa.
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Mel Gibson originally wanted John McTiernan to direct, and sent screenwriter Randall Wallace to ask him. However, according to McTiernan, "the writer was a jackass. He was so full of himself, so pretentious, and never mentioned that Mel had asked that I direct the movie." McTiernan regretted declining the film after learning that Gibson had chosen him.
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Mel Gibson has been quoted as saying that the "look and feel" of the film were heavily influenced by cinematographer John Toll. According to Gibson, he was desperately searching for a director of photography when he came across Toll's work; Toll had just finished filming Legends of the Fall (1994), for which he would later win his first Oscar, and was overseeing the editing process. Gibson saw the footage in the editing bay and was so impressed that he hired Toll on the spot. Toll won his second consecutive Oscar for Braveheart the very next year.
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Screenwriter Randall Wallace initially planned to start the story with William Wallace as an adult, but when he got stuck, he began writing a prologue of William's childhood, purely as a writing exercise. He based the element of William being taken in by his uncle on one of his own uncles once adopting a local boy who got orphaned. He also reasoned that none of the adults at the burial would comfort young William, as this would make them feel obliged to take responsibility for the boy, so it would take a young girl (Murron) to comfort him. When the sequence was first written, Randall had Murron give William a rose, but someone who read the script pointed out that the rose, a traditional symbol of England, would be inappropriate as a prominent feature in the story, so it became a thistle (the symbol of Scotland) instead. During the later scene where William hands Murron something, he originally didn't know what it would be, until he remembered the thistle, and knew it was perfect.
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Randall Wallace never wrote the screenplay with Mel Gibson in mind as William Wallace, but he later realized that no one would be better to play the brave and rugged character than Gibson. The script eventually found its way to Gibson when Alan Ladd Jr. at MGM approached him for the main part, and although Gibson declined due to being too old to portray Wallace, he was very much intrigued by the premise, feeling that this was a story that he would rather tell than act out. Some time later, after having made his first directorial efforts, Gibson's assistant asked him about his next project, and Gibson began to explain his vision for the Braveheart movie. What was supposed to be a 5-minute pitch ended up becoming a 2-hour enactment, which convinced Gibson that he wanted to direct this movie. He went to Ladd, who had taken the script with him to his new studio, and asked him if he would let him direct; Ladd agreed. When casting options were discussed, Ladd also said that Gibson himself would be the obvious choice for the main part, since all other actors seemed too boyish.
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The Battle of Stirling in the film is a historic fact, but in reality, it was the Battle of Stirling Bridge: the Scottish army lured the English onto a field that was largely enclosed by the river Forth, and was only accessible from the south by a small bridge that barely allowed two horses walking side by side. The Scottish army hid around the northern bank until a significant part of the English army had crossed and then attacked; these soldiers and horsemen couldn't escape the battle due to the river's curving, and the remaining part of the army on the southern bank could do nothing but watch as their vanguard was being decimated. When director Mel Gibson was asked by a local why the Battle of Stirling Bridge was filmed on an open plain, he answered that "the bridge got in the way." "Aye," the local answered. "That's what the English found."
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At the Battle of Falkirk (22nd of July 1298), the English army was personally led by King Edward I, who decisively defeated the Scots as depicted in the film. The real-life King Edward I was a military genius who learned combat tactics while fighting the Mamelukes--a Muslim military caste--in the Middle East during the Eighth and Ninth crusades. The use of long spears to stop the English cavalry charge was actually employed during the Battle of Falkirk, rather than the Battle of Stirling as depicted. One of the reasons why Edward won the Battle of Falkirk was that the Scottish cavalry, like in the film, did not come to their infantry's aid.
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The Battle of Stirling in the film is historical, but in reality it was the Battle of Stirling Bridge: the Scots drew the English into an area reachable only by a narrow bridge and attacked as the vanguard crossed. Asked why it was shot on an open plain, Mel Gibson said, 'The bridge got in the way.' A reply from a local: 'Aye, that's what the English found too.'
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Gibson said of the film: 'Some people said we were messing with history. That doesn't bother me; I'm giving you a cinematic experience. Films should first entertain, then teach, then inspire. There were historical inaccuracies, maybe quite a few. But there's very little history about the man. It wasn't authentic; in what I read he wasn't as good as he is in the film. We romanticized it a bit, but that's the language of film. In fact he was a monster, he constantly smelled of smoke. But we shifted the balance; every story has a point of view.'
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Andrew de Moray, omitted entirely from the film, was Wallace's real-life lieutenant and was just as important in the resistance against the English. He raised his own army and joined forces with Wallace to win the Battle of Stirling Bridge, but succumbed to his battle wounds. The character Hamish Campbell is also loosely based on Moray.
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Screenwriter Randall Wallace got stuck while planning to begin the story with Wallace as an adult, and as a writing exercise he wrote a prologue about his childhood. He drew the uncle figure from his own uncle's adoption of an orphaned child. For the funeral scene, he conceived the reason the adults do not comfort young William as their not feeling obliged to make him take on responsibility; that is why Murron steps in. In the first draft Murron gave William a rose, but because the rose is a symbol of England it was replaced with a thistle (the symbol of Scotland). The thistle was then used in the later scene where William gives Murron something.
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At the Battle of Falkirk (22 July 1298) King Edward I commanded in person and inflicted a decisive defeat on the Scots. Edward was a military genius who had learned tactics fighting the Mamluks in the Crusades. The tactic of stopping a cavalry charge with long spears, shown at Stirling in the film, was actually used at Falkirk. One of the reasons for Edward's victory was that the Scottish cavalry did not support the infantry.
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When members of Clan MacGregor want to join Wallace's rebellion, their chief calls them 'Amadans', a mild insult. 'Amadan' means 'fool' in Scottish Gaelic and Irish; thus the chief makes fools of Wallace and his men both for resisting the English and for not inviting the clan to join the rebellion.
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The film implies that Wallace is betrayed and captured at Edinburgh Castle by the elder Robert the Bruce. In fact the elder Bruce died in 1304; Wallace was captured in 1305 by Sir John de Menteith at Robroyston. Many Scots were disappointed that the younger Robert the Bruce sided with the English at Falkirk. Mel Gibson acknowledged that this was not historical, but the producers wanted to reflect Bruce's betrayal in some way.
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Responding to criticism about historical inaccuracies, screenwriter Randall Wallace said: There is very little evidence about William Wallace's life. Even Winston Churchill's 'A History of the English-Speaking Peoples' states that almost no factual material about the Scottish leader has survived. Wallace based his story largely on the 15th-century romantic poem 'The Wallace'. Written by Blind Harry, this poem was composed more than 150 years after William's death, relying on oral tradition and secondary sources. It therefore contains many embellishments; for example, the name of William's wife, Murron, is the same as that of Harry's neighbour, and some of the battles mentioned do not appear in other sources. Randall said he deliberately cut the sections in which William goes to France and the Vatican after the Battle of Falkirk.
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Mel Gibson had to soften the battle scenes in order not to receive an NC-17 rating from the MPAA. The final version received an R rating for 'brutal medieval warfare'. Gibson and editor Steven Rosenblum initially had a 195-minute film, but at the request of Paramount president Sherry Lansing it was cut to 177 minutes. In a 2016 interview with Collider, Gibson said a four-hour version of the film exists and that he would like to reassemble it if Paramount and Fox are interested.
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It is not known whether the real William Wallace made a speech to the Scots before the great battle. Randall Wallace said, 'I wrote what gave me goosebumps.' Despite the lack of evidence, the line 'They may take our lives, but they'll never take our freedom' became one of the most quoted and parodied lines in film history.
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Mel Gibson, a famous prankster, directed some scenes in an Elmer Fudd voice. In Murron's funeral scene, he put his arm around the shoulder of the actress playing her mother and shouted 'Be quiet!' as 'CUT!', causing the actress to break character and laugh. He also spread a false rumour that Sophie Marceau was the daughter of the famous mime artist Marcel Marceau.
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The final scene at Bannockburn shows a momentary battle during Robert the Bruce's ceremony of submission to the English after William's death. In reality Bruce campaigned for a long time after Wallace's execution, and the Scots won a crushing victory at the Battle of Bannockburn in 1314, nine years after Wallace's death. This period is depicted in 'Outlaw King' (2018).
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When King Edward I kills Phillip, he throws him out of the window rather than using his sword. Because at that time death by the sword was considered worthy only of nobles; common people had no right to fight with a sword. Had Edward used his sword, he would have given Phillip an honourable death.
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After finishing the script, Randall Wallace chose to do historical research; he wanted to capture the drama first, then add the details. Many elements in the film are based on the 1477 poem 'The Wallace'. Against criticism of historical inaccuracy, Randall argued that the script was his own dramatic interpretation, just like his source (written 172 years after the events). He also noted that surviving documents are rarely impartial, and that English sources were written with anti-Scottish sentiment.
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The Times ranked Braveheart second on its list of the 'Most Historically Inaccurate Films', Ranker placed it third and ScreenRant fourth. The points of contention: William Wallace being shown as a poor peasant rather than a landowning knight; his relationship with Queen Isabella (at his death Isabella was 5 years old); anachronistic clothing and customs (the kilt, face painting, battle tactics). Other inaccuracies: Scotland had been under occupation for only one year before Wallace's rebellion; the nickname 'Braveheart' belonged to Robert the Bruce; Bruce did not directly betray Wallace; Longshanks died on campaign two years after Wallace's execution; the execution was in reality far more graphic (castration and disembowelment). Both Randall Wallace and Mel Gibson acknowledged the deviations from fact, but said they were inspired by legend and wanted to tell a cinematic story.
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Among the films Gibson watched while preparing to direct this one were Roman Polanski's Macbeth (1971), Spartacus (1960), Chimes at Midnight (1965), Alexander Nevsky (1938), A Man for All Seasons (1966), The Lion in Winter (1968), Seven Samurai (1954), Throne of Blood (1957) and NFL films.
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As young William waits for his father and older brother to return from battle, he is awakened by the noise of a cart pulled by two enormous horned oxen. These animals, named Edward and Phillip, each weighed about a ton and were brought from Cotswold Farm Park. On the set in Glen Nevis Valley, Wallace's childhood home and village were rebuilt.
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Although most of the characters in the film are Scottish, the actors cast to play them were mostly chosen from England, Wales and Ireland. Angus Macfadyen (Robert the Bruce) and Brian Cox (Argyle) are notable exceptions. Ironically, the only Irish character in the film (Stephen) was played by the Scottish actor David O'Hara.
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During William Wallace's public execution, the final torture he endures before death is not shown to the audience, only implied. The executioner and his assistant hide Wallace's body from the chest down from the camera, just as the camera shows Wallace from the chest up, implying that it is painful. In fact, the torture is castration and disembowelment; the executioner cuts the victim's groin with a knife, removing the testicles and then the penis. The pelvis is opened and the intestines are pulled out. The intestines were usually drawn from the body with a small wooden stick (and wound around it), causing severe pain and forcing the victim to confess the sins he was accused of.
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Although Edward I and his followers are constantly called 'English,' a more accurate description would be 'Norman,' because the English had not yet recovered from the effects of being 'laid waste' by William the Conqueror. The Norman nobility would not begin speaking English until several generations later.
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Mel Gibson said the look and feel of the film were largely influenced by cinematographer John Toll. Gibson had just finished shooting Legends of the Fall (1994) and came across Toll's work overseeing the editing process. Seeing the footage in the editing room, Gibson was so impressed that he hired Toll immediately. The following year, Toll won his second consecutive Oscar, for Braveheart.
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Mel Gibson, heavily criticised for an interview he gave to a Spanish magazine in December 1991, was accused of homophobia for portraying the film's Prince of Wales (and future Edward II) as an effeminate homosexual. Historians are sharply divided over whether Edward II, who fathered at least five children, was homosexual or bisexual. The scene in which Edward I throws his son's lover from a castle window drew particular criticism for inciting homophobia. The lover was based on Piers Gaveston, who was married; many historians believe the stories about Edward's homosexuality were invented by his enemies to discredit the king. Promoting the film, Gibson refused to apologise for the controversy in a 1995 interview with Playboy. In January 1997, however, he agreed to host a summit on the set of Conspiracy Theory (1997) for representatives of the gay rights organisation GLAAD. GLAAD leaders said they were disappointed that he did not apologise to them for the film's alleged homophobia. In a 1999 interview with The Daily Telegraph, Gibson said he felt "regret" over the controversial 1991 interview, that he had been drinking vodka at the time, and that his words were often used to criticise him.
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First assistant director David Tomblin had previously worked on Danger Man (1960) and The Prisoner (1967) and was a close friend of Patrick McGoohan. After Mel Gibson turned down names such as Sean Connery, Ian McKellen and Patrick Stewart, Tomblin suggested McGoohan for the role of Edward Longshanks.
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Randall Wallace never wrote the script with Mel Gibson in mind as William Wallace, but later realised that no one could play the brave and tough character better than Gibson. The script eventually reached Gibson when Alan Ladd Jr. of MGM offered him the lead; Gibson turned it down, thinking he was too old to play Wallace, but he was so taken with the story's premise that he felt it was a story he wanted to tell rather than act in. Some time later, after his first directing efforts, Gibson's assistant asked him about his next project, and Gibson began describing his vision for Braveheart. What was supposed to be a 5-minute pitch turned into a 2-hour enactment, which convinced Gibson that he wanted to direct the film. He went to Ladd and asked whether he would let him direct it; Ladd agreed. When casting was discussed, Ladd said Gibson was the obvious choice for the lead because all the other actors looked too boyish.
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Some sections of the British media accused the film of harbouring anti-English sentiment. The Economist called the film "xenophobic", while John Sutherland, writing in The Guardian, said, "Braveheart gave full rein to a poisonous anti-Englishness." In The Times, Colin McArthur said, "Its political effects are genuinely harmful. It is a xenophobic film." Ian Burrell of The Independent noted, "The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice."
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In a conversation between William Wallace and Robert the Bruce, Wallace says, "Every man dies, not every man really lives." This line comes true at the end of the film: as a result of Robert the Bruce's father's betrayal, Wallace is captured, publicly tortured and then beheaded as a warning to prevent a popular uprising. Rather than intimidating Robert the Bruce, however, this encourages him to rise up against the English armies at Bannockburn and win Scotland's freedom.
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Scottish singer Fish (known in the 1980s as the lead singer of the British rock band Marillion) was offered a role in the film, but it clashed with the tour he was doing to support his 1994 solo album "Suits". He later expressed regret that it could have been "a big step" in his acting career.
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During post-production, Mel Gibson and editor Steve Rosenblum were wrestling with a 195-minute cut (3 hours 15 minutes) that was too long for a general release. When Paramount Pictures executive Sherry Lansing stepped in, she suggested which sections should be cut. This initially angered the two men, who were uncomfortable at being cautioned by a female producer. However, after making some revisions to their cut, both agreed that Lansing's suggestions were right and reduced the running time to two hours 58 minutes.
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In the film, William Wallace is portrayed as a patriot. Gibson later played Benjamin Martin in the 2000 film The Patriot; although both films are set against different kings and countries, they deal with men fighting wars of independence against the King of England and the cruelty of royal forces.
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Primae Noctis (the Right of the First Night) may or may not be a legend; the concept was also addressed in Charlton Heston's 1965 film The War Lord. In general, it refers to an ancient custom granting noble lords the right to have sexual relations without consent with their female subjects, including a virgin bride on her wedding night.
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Mel Gibson initially wanted John McTiernan to direct and sent screenwriter Randall Wallace to ask him. However, according to McTiernan, 'The writer was an ass. He was so full of himself, so arrogant, that he never mentioned that Mel wanted me to direct the film.' When McTiernan learned that Gibson had chosen him, he regretted turning the film down.
Behind the Scenes (119)
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Mel Gibson admits that he borrowed the cinematic techniques for most of the violent shots in the movie, such as shooting at different speeds or using jump cuts to emphasize the violence, from his Mad Max (1979) director George Miller. He also admittedly borrowed ideas and techniques for more atmospheric shots from Peter Weir, who directed Gibson in Gallipoli (1981) and The Year of Living Dangerously (1982).
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Mel Gibson has said he would give $5 to anyone who could spot the fake horses in the final film. Reportedly he has not had to make good on the wager. Be that as it may, the horse falling into the moat was clearly fake. It remained motionless as it fell, not moving its legs, and slowly turned to its side as it fell through the air, not attempting to right itself. This is very un-horselike behavior.
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Young William, expecting his father and brother to return from battle, wakens to the rumbling of a cart drawn by two large, long-horned oxen. These two animals were obtained from Cotswold Farm Park, a subsidiary activity of Heath Farm in Oxford, England. They are named "Edward" and "Phillip," and each weighed nearly 1 ton. They were shipped to the filming site in the Glen Nevis Valley of Scotland, where Wallace's childhood home and village were replicated.
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Glen Nevis, the Scottish valley which served as the location for Wallace's childhood village, also enjoys the heaviest rainfall in Europe. During the six weeks spent filming in the area, only three days of sunshine occurred, during which the wedding scene was finished. The filmmakers resigned themselves to the fact that constant rain was inevitable, and opted to film scenes regardless of weather conditions.
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Mel Gibson, a notorious jokester, directed some scenes in an Elmer Fudd voice and even yelled, "CUT!" during Murron's funeral scene by putting his arm around the actress playing her mother and hollering, "Will you put a sock in it!" This caused the actress to go from crying in character to break character and laugh. Gibson also intentionally started a false rumor that Sophie Marceau was the daughter of noted French mime Marcel Marceau.
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Up to 1,600 extras were used for the battle scenes. Most were members of the F.C.A., the reserve Irish Army. Different companies usually come from the same area, and rivalries are common. Apparently some of the battle scenes are far more realistic than intended, with rival companies trying to beat the lard out of each other.
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Mel Gibson was on the set of Ransom (1996) when Braveheart (1995) and Apollo 13 (1995) were nominated for Best Picture. He pulled a prank on Apollo 13 director Ron Howard and producer Brian Grazer by giving them an ad that claimed Braveheart was considered for "Best Moon Shot." The accompanying picture was a shot of the Scottish army mooning the English.
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Contains a major spoiler — show
The final torture William Wallace suffers during his public execution before his death is not shown to the audience, only hinted at. The executioner and his henchman hide Wallace's body from the thorax down from the camera, just as the camera shows Wallace from the thorax up, suggesting the pain. In fact, the torture is emasculation and evisceration, a technique in which the executioner cuts the victim's groin with a knife to remove the testicles and then the penis. The pelvis is then opened and the intestines are pulled out. The intestines were usually extracted from the body with a small wooden stick (and twisted around it) to cause severe pain and to make the victim confess the sins he had been accused of.
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While on the set of Ransom (1996), Gibson learned that Braveheart and Apollo 13 had been nominated for Best Picture, and he placed a joking ad for Ron Howard and Brian Grazer: "Braveheart, under consideration for 'Best Moon Shot.'" The photo next to the ad was the scene of the Scottish army mooning the English.
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Mel Gibson is known for his bad jokes; he directed some scenes in an Elmer Fudd voice. During Murron's funeral scene, he put his arm around the mother of the actress playing her and shouted "Shut up!" before calling "CUT," which made the actress laugh. He also started a false rumor that Sophie Marceau was the daughter of Marcel Marceau.
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Mel Gibson said he would pay $5 to anyone who spotted the fake horses in the final film; reportedly he never had to pay off that bet. The horse that falls into the ditch was clearly fake: it stayed motionless, did not move its legs and slowly rolled sideways in the air without trying to right itself.
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In post-production, Mel Gibson and editor Steve Rosenblum were working with a 195-minute cut. When Paramount executive Sherry Lansing suggested which sections should be cut, the pair were initially uncomfortable, but after the revision they accepted that Lansing was right and reduced the running time to 2 hours 58 minutes.
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Mel Gibson said of the film: 'Some people said we distorted history in telling the story. That doesn't bother me because what I'm offering is a cinematic experience. I think films are there to entertain first, then to teach, then to inspire. There were probably historical inaccuracies – quite a few. But maybe there weren't, who can say, because there's so little history about the man. It certainly wasn't authentic. In some of the things I read about him, he wasn't as good a man as he is in the film. We romanticized him a bit, but that's the language of film – you have to make it cinematically acceptable. In fact he was a monster – he always smelled of smoke because he was constantly burning people's villages. He was like what the Vikings called a 'berserker.' But we shifted the balance a bit because one has to be the good guy and one the bad guy, and every story has its own point of view. That was our bias.'
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Randall Wallace began researching his family history so that, as he was about to become a father for the first time, he could tell his children about their heritage. He traced his origins back to Edinburgh, and on a visit in 1983 he came across a statue of William Wallace outside Edinburgh Castle. He had never heard of the 14th-century figure who shared his surname, but he was struck by the stories about 'Scotland's greatest hero,' researched the subject, and eventually wrote a film screenplay.
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Screenwriter Randall Wallace initially planned to begin the story with William Wallace's adulthood, but when he got stuck he wrote a prologue of his childhood as a writing exercise. The idea of William being taken in by his uncle was inspired by one of his own uncles adopting an orphaned child. He thought that at the funeral no adult would comfort young William, because that would force them to take responsibility; so a young girl (Murron) was needed for comfort. In the first draft, Murron gave William a rose, but when a reader pointed out that the rose was the symbol of England, it was replaced with a thistle (the symbol of Scotland). Later, in the scene where William gives Murron something, he didn't know what to give her until he remembered the thistle.
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In response to criticism of historical inaccuracies, Randall Wallace said there is very little evidence about William Wallace's life. He related that even Winston Churchill's 'A History of the English Speaking Peoples' states that almost no factual material about the Scottish leader has survived. Randall based his story largely on the 15th-century romantic poem 'The Wallace' (by Blind Harry). In the Blu-ray bonus features, he acknowledged that Blind Harry wrote his poem 150 years after William's death and relied on oral tradition, so he embellished a great deal. For example, William's wife Marian (Murron) shares her name with Harry's neighbor, and some battles do not appear in other contemporary works. Randall said he deliberately omitted the passages in which William goes to France and the Vatican after the Battle of Falkirk.
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Mel Gibson softened the battle scenes to avoid an NC-17 from the MPAA; the final version received an R rating for 'brutal medieval warfare.' Gibson and editor Steven Rosenblum initially had a 195-minute film, but Paramount president Sherry Lansing asked them to cut it to 177 minutes. In a 2016 interview with Collider, Gibson said a four-hour version of the film exists and that he would like to reassemble it if Paramount and Fox are interested.
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It is not known whether the real William Wallace spoke to the Scots before the great battle; Randall Wallace said, 'I wrote what gave me goosebumps.' Despite the absence of any evidence, the rousing speech and especially the line 'They may take our lives, but they'll never take our freedom' became one of the most quoted and parodied lines in film history.
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Randall Wallace preferred to do historical research after completing the screenplay because he wanted to capture the drama first. Many elements in the film are based on the 1477 poem 'The Wallace.' Against claims of historical inaccuracy, Randall said the screenplay was his own dramatic interpretation and that the source material was itself written 172 years after the events. He also noted that the authors of surviving documents were rarely impartial, and that English sources were written with anti-Scottish sentiment.
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Mel Gibson initially considered John McTiernan to direct and sent screenwriter Randall Wallace to make him the offer. However, according to McTiernan, Wallace was smug and pretentious and never mentioned that Gibson wanted him. When McTiernan learned that Gibson had actually chosen him, he regretted turning the film down.
Characters & Cast (35)
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Although the majority of the characters in the film are Scottish, the actors portraying them were mostly drawn from England, Wales and Ireland. Angus Macfadyen (Robert the Bruce) and Brian Cox (Argyle) are notable exceptions. Ironically, the one Irish character in the film, Stephen, is played by Scottish actor David O'Hara.
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Although most of the characters in the film are Scottish, the actors who played them were mostly from England, Wales and Ireland. Angus Macfadyen (Robert the Bruce) and Brian Cox (Argyle) are notable exceptions. Ironically, the only Irish character in the film (Stephen) was played by Scottish actor David O'Hara.
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First assistant director David Tomblin was a close friend of Patrick McGoohan, and the two had previously worked together on the series Danger Man (1960) and The Prisoner (1967). Mel Gibson suggested McGoohan after considering Sean Connery, Ian McKellen and Patrick Stewart for the role of Edward Longshanks.
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Randall Wallace did not write the script with Mel Gibson in mind, but he later realized that no one could play William Wallace's brave and tough character better than Gibson. The script reached him when Alan Ladd Jr. of MGM offered Gibson the lead role. Gibson turned it down, thinking he was too old for Wallace, but he was so affected by the story that he wanted to tell it more than to act in it. Some time later, after his first directing efforts, when his assistant asked him about his next project, Gibson began describing his vision for Braveheart. What was supposed to be a five-minute pitch turned into a two-hour performance, and Gibson became convinced he wanted to direct the film. He asked Ladd, who had taken the script to his new studio, whether he would let him direct it; Ladd agreed. While casting was being discussed, Ladd said Gibson was the obvious choice for the lead because all the other actors looked too boyish.
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Easter Eggs & References (19)
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When the members of Clan MacGregor attempt to join Wallace's rebellion against the English, the MacGregor chieftain mildly insults Wallace and his men by calling them "Amadans." "Amadan" is both Scots Gaelic and Irish for "fool" or "idiot." Thus, the MacGregor chieftain is calling Wallace and his men fools, both for resisting the English and for not inviting the MacGregors to participate in the rebellion.
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The characters speak about William Wallace (portrayed by Mel Gibson) as a patriot. Gibson would later go on to play Benjamin Martin in The Patriot (2000), in which he was also portraying a man dragged into a war of independence. Interestingly, both films depict a rebellion against the King of England whose forces commit several atrocities, though against different kings and in different countries.
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"Primae noctis," the right of a nobleman to have sex with a common man's bride on her wedding night, was never used in the history of Britain or Ireland. It would have encouraged rebellions in newly conquered territories that were already difficult to govern. It was more common on the continent, notably in France.
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Shortly after Wallace is knighted, an elderly member of Clan Balliol, played by Bernard Horsfall, asks Wallace about the Balliol claim to the throne of Scotland. In real life, John Balliol became King of Scotland in 1292 but was deposed by King Edward I of England in 1296. The real William Wallace swore his loyalty to King John Balliol, even after Balliol was imprisoned in England.
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Completely lacking from the movie is Andrew de Moray (Murray), the real-life lieutenant of Sir William Wallace, who is considered just as important as Wallace in resisting the English at that time. De Moray raised an army of his own that merged with Wallace's, and together they successfully defeated the English at the battle of Stirling Bridge. De Moray was named Guardian of Scotland together with Wallace, but soon thereafter succumbed to injuries that he had sustained during the battle. The character of Hamish Campbell (Brendan Gleeson) is loosely based upon de Moray.
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Although "Primae Noctis" may or may not be a myth, it was also invoked by Charlton Heston in The War Lord (1965). It generally names an ancient tradition in which all noble lords, whether kings or dukes, had the right to have sex with any of their female subjects—regardless of their will and even with a virgin bride—on her wedding night.
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King Edward I was called "Longshanks" (long legs) because he was at least 6'2" (1.88 m), uncommonly tall for a man of the time. William Wallace was even taller, at 6'5" (1.96 m). However, Mel Gibson (Wallace) is 5'10" (1.77 m), while that Patrick McGoohan (Edward I) was exactly 6'2" tall.
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As Wallace is arriving at the Battle of Stirling Bridge, one of the Scottish fighters recognizes him as Wallace, to which his buddy replies, "Can't be. Not tall enough." This is a bit of an inside joke from the production team. The real William Wallace was a giant of a man, standing 6'5" tall (1.95 meters) at a time when the average man stood no more than about 5'8" (1.72 meters), and seven inches taller than Mel Gibson at 5'10" (1.77 meters).
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The few historic sources that mention William Wallace's personal life are unclear about whether he was married and even his supposed wife's name. In the poem that he is most famous for, a revision that was made a few centuries after his death mentions a wife named Marian, but it's believed that the name was changed to "Murron" for the film to avoid confusion with the Robin Hood character of the same name.
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Contains a major spoiler — show
When speaking with Isabella before his execution, William Wallace delivers the famous quote "Every man dies--Not every man really lives." This famous quote, commonly attributed to the Braveheart character, was actually authored by 19th-century American poet William Ross Wallace, famous for writing the poem "The Hand That Rocks The Cradle Is The Hand That Rules The World." He has no relation to the William Wallace in the film.
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Contains a major spoiler — show
Elder Campbell is wounded in every battle he is seen participating in. He takes an arrow in the chest during the initial uprising against the local magistrate, his hand is cut off during the Battle of Stirling Bridge, and finally he takes an axe to the gut during the battle of Falkirk.
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The few historical sources that mention William Wallace's personal life are unclear about whether he was married or even what his supposed wife's name was. In the poem for which he is most famous, a revision made several centuries after his death mentions a wife named Marian, but it is believed the film changed the name to "Murron" to avoid confusion with the Robin Hood character of the same name.
Deeper Meaning (41)
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Although Edward I and his followers are routinely referred to as the "English", they would more accurately be described as the "Normans", as the English were still recovering from being "harrowed" by William the Conqueror. The Norman nobility would not even begin speaking English until several generations later.
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Sections of the British media accused the film of harboring Anglophobia. The Economist called it "xenophobic," and John Sutherland, writing in The Guardian, stated that: "Braveheart gave full rein to a toxic Anglophobia." In The Times, Colin McArthur said: "the political effects are truly pernicious. It's a xenophobic film." Ian Burrell of The Independent has noted: "The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice."
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In the movie, it is implicated that Wallace is jumped, beaten down and captured at Edinburgh Castle, betrayed by the Elder Robert the Bruce. In real-life, the Elder Bruce died in 1304; Wallace was captured and betrayed in 1305 by Sir John de Menteith, a Scottish nobleman loyal to King Edward, at what is now Robroyston (named for another legendary Scottish hero, Rob Roy MacGregor), a suburb of Glasgow. Many Scots were also dismayed by the portrayal of the younger Robert the Bruce choosing the side of the English at the Battle of Falkirk. Director Mel Gibson admitted that this did not actually happen; yet Robert, like virtually all Scottish nobles, was known to have sided with the English a few times during the Scottish independence war (in exchange for more lands and power from the English king), and the makers wanted that betrayal represented in the movie somehow.
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Contains a major spoiler — show
When King Edward I kills Phillip, he throws him out the window instead of using the sword he has in his belt. The reason for this is that at those times dying by a sword was considered an honor only reserved for nobles, knights and kings. Plebs and common people had no right to use the sword or fight with it. If Edward I had used his sword, he would be giving Phillip an undeserved honorable death.
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Contains a major spoiler — show
The final scene at Bannockburn is implied to occur some time after William's death, as merely a formal ceremony where Robert the Bruce, now crowned King of Scotland, only needs to surrender to the English, which then leads into a spur-of-the-moment battle (which happens off screen) where the Scots finally win their freedom. In reality, after Wallace's execution, Bruce continued to lead a long and difficult campaign against the English. The tide finally turned in his favor after the Battle of Loudoun Hill, and the war culminated with the decisive Battle of Bannockburn in 1314 with a crushing victory for the Scots, nine years after Wallace's death. Most of these nine years are depicted in Outlaw King (2018), which focuses specifically on Robert the Bruce.
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Contains a major spoiler — show
During a conversation between William Wallace and Robert the Bruce, Wallace says to him: "We all end up dead, it's just a question of how and why." His quote proves to be true at the ending of the movie: after the betrayal of Robert the Bruce's father resulting in Wallace's capture, he is publicly tortured and later beheaded as a lesson to prevent future rebellions from the plebs. Instead of making him afraid, it encourages Robert the Bruce to rebel against English armies at Bannockburn and get freedom for Scotland.
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The film shows Wallace jumping, being beaten and being betrayed by Elder Robert Bruce at Edinburgh Castle. In real life, the Elder Bruce died in 1304; Wallace was captured and betrayed in 1305 at Robroyston, now a suburb of Glasgow (named after another legendary Scottish hero, Rob Roy MacGregor), by Sir John de Menteith, a Scottish nobleman loyal to King Edward. Many Scots were also appalled by the portrayal of the young Robert the Bruce siding with the English at the Battle of Falkirk. Director Mel Gibson admitted this did not actually happen; however, it was known that Robert, like nearly all Scottish nobles, sided with the English several times during the Scottish Wars of Independence (in exchange for more land and power from the English king), and the producers wanted this betrayal represented in the film in some way.
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Glen Nevis, the Scottish valley where Wallace's childhood village is located, also receives the heaviest rainfall in Europe. During the six weeks spent shooting in the area, there were only three days of sunlight, and the wedding scene was completed during that time. The producers resigned themselves to the fact that constant rain was inevitable and chose to shoot the scenes regardless of the weather.
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The Battle of Stirling is a historical fact, but its name is the Battle of Stirling Bridge. The Scots lured the English into a bend of the River Forth, reachable only by a narrow bridge that allowed just two horses to pass side by side. They hid until most of the army had crossed and then attacked; the bend of the river made escape impossible. When Mel Gibson was asked why he filmed the battle on flat ground, he said, 'The bridge was in the way.' The reply from a local was this: 'Yes, the English found that too.'
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Primae Noctis, the right of a nobleman to spend the wedding night with a peasant bride, was never practiced in British or Irish history. Such a practice would have fueled rebellion in newly conquered lands that were already fragile. It was more common in continental Europe, especially in France.
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Completely absent from the film is Sir William Wallace's real-life right-hand man, Andrew de Moray. He is considered as important as Wallace. De Moray raised his own army, joined forces with Wallace, and they defeated the English at Stirling Bridge. He was chosen Guardian of Scotland but succumbed to wounds he received in battle. The character Hamish Campbell is loosely based on de Moray.
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At the Battle of Falkirk (22 July 1298), King Edward I personally led the English army and inflicted a decisive defeat on the Scots. The real Edward I was a military genius who had learned tactics fighting the Mamluks during the Crusades. The tactic of stopping a cavalry charge with long spears was actually used at Falkirk, not Stirling. One of the reasons for Edward's victory was that the Scottish cavalry did not support their infantry, as in the film.
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In the film it is implied that Wallace is betrayed and captured at Edinburgh Castle by the elder Robert the Bruce. In reality, the elder Bruce died in 1304; Wallace was captured in 1305 near Glasgow by the Scottish nobleman Sir John de Menteith, who was loyal to King Edward. Many Scots were also disappointed that the younger Robert the Bruce sided with the English at Falkirk. Mel Gibson acknowledged that this did not happen; however, Robert, like nearly all Scottish nobles, sided with the English several times during the war of independence, and the filmmakers wanted to show this betrayal in the film in some way.
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Shortly after Wallace is knighted, an elderly member of Clan Balliol asks him about Balliol's claim to the throne. In reality, John Balliol became King of Scots in 1292, but was deposed by Edward I in 1296. The real William Wallace swore allegiance to him even after Balliol was imprisoned in England.
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The final scene at Bannockburn takes place some time after Wallace's death, as an official ceremony in which Robert the Bruce (now King of Scots) is merely supposed to surrender to the English, which leads to a sudden battle. In reality, after Wallace's execution Bruce waged a long and difficult campaign. After the Battle of Loudoun Hill, things turned in his favor, and the war ended with the Scots' overwhelming victory at the Battle of Bannockburn in 1314, nine years after Wallace's death. Much of those nine years is told in the film Outlaw King (2018), which focuses especially on Robert the Bruce.
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When killing Phillip, King Edward I threw him out of a window instead of using his sword. The reason is that at the time, dying by the sword was seen as an honor befitting only nobles, knights and kings. Common people had no right to use a sword or to fight with one. Had Edward used his sword, he would have given Phillip an honorable death he did not deserve.
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The film was ranked second on The Times' list of the 'Most Historically Inaccurate Films', third on Ranker and fourth on ScreenRant. The main points of contention: William Wallace, in reality a landowner and minor knight, is presented as a poor peasant; his relationship with Queen Isabella (at the time of his death, Isabella was about 5 years old); anachronistic clothing and customs (the kilt, face painting) and battle tactics. Other inaccuracies: Scotland had been under English occupation for only one year before Wallace's rebellion; the nickname 'Braveheart' belonged not to Wallace but to Robert the Bruce; although Bruce frequently switched sides, he did not directly betray Wallace; Longshanks died on campaign two years after Wallace's execution; the execution scene is far less graphic than the real execution, which involved castration and disembowelment. Both screenwriter Randall Wallace and director/actor Mel Gibson acknowledged these departures from reality, but stated that they were inspired by the legend surrounding Wallace and wanted to tell a cinematically compelling story, not a history lesson.
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When Wallace arrives at the Battle of Stirling Bridge, a Scottish warrior recognizes him and his friend says, 'He can't be, he's not tall enough.' This is an inside joke from the production crew. The real William Wallace was a giant of a man; he stood 1.95 metres tall at a time when the average height was 1.72 metres, and was 18 cm taller than the 1.77-metre Mel Gibson.
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The line 'They may take our lives, but they'll never take our freedom!' ranked 99th on The Hollywood Reporter's list of Hollywood's 100 Favorite Film Quotes. The other two films from that year nominated for the Best Picture Oscar that made the list were Babe (1995) (71st) and Apollo 13 (1995) (24th).
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Although Edward I and his men are constantly called 'English' in the film, it would actually be more accurate to refer to them as Normans. Because the English had not yet escaped the effects of William the Conqueror's conquests; the Norman nobility did not begin speaking English until several generations later.
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In an interview with a Spanish magazine in December 1991, Mel Gibson was accused of homophobia for portraying the Prince of Wales (later King Edward II) in the film as an effeminate homosexual. Historians are divided over whether Edward II, the father of at least five children, was homosexual or bisexual. The scene in which Edward I throws his son's lover out of the castle window was especially criticized for inciting homophobia. The lover was based on Piers Gaveston, who was married; many historians believe the stories about Edward's homosexuality were invented by his enemies to discredit the king. Gibson refused to apologize in a 1995 interview with Playboy. However, in January 1997 he agreed to hold a summit with GLAAD representatives on the set of Conspiracy Theory; GLAAD leaders were disappointed that Gibson did not apologize for the homophobia accusations. Speaking to The Daily Telegraph in 1999, Gibson said he felt 'regret' about the controversial interview and claimed that he had been drinking vodka at the time and that his words were often used to criticize him.
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Some of the British media accused the film of fostering anti-English sentiment. The Economist described the film as 'xenophobic', while John Sutherland of The Guardian said 'Braveheart gave full rein to a poisonous anti-Englishness'. Colin McArthur of The Times used the phrase 'a genuinely pernicious, xenophobic film in its political effects'. Ian Burrell of The Independent noted that 'the Braveheart phenomenon has been linked to a Hollywood-inspired rise in Scottish nationalism and an increase in anti-English prejudice'.
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In the conversation between William Wallace and Robert the Bruce, Wallace says, 'Every man dies, but not every man really lives.' This line is confirmed at the end of the film: through the betrayal of Robert the Bruce's father, Wallace is captured, publicly tortured and beheaded. But this, instead of intimidating Robert the Bruce, encourages him to rebel against the English armies at Bannockburn and bring freedom to Scotland.
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The characters refer to William Wallace as a patriot. Gibson later played Benjamin Martin in The Patriot (2000), again playing a man drawn into a war of independence. Interestingly, although both films are against different kings and countries, they tell of a rebellion against an English king whose forces commit various atrocities.
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Whether or not 'Primae Noctis' is a legend, it was also used by Charlton Heston in the film The War Lord (1965). In general, it refers to an ancient custom by which all noble lords (kings or dukes) had the right to be with their female subjects against their will, even with a virgin bride on her wedding night.
Career & Awards (16)
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The line "They may take our lives, but they'll never take our freedom!" was ranked 99th on The Hollywood Reporter's list of Hollywood's 100 Favorite Movie Quotes. It was one of three Best Picture Oscar nominees of that year to end up on the list; the other two are Babe (1995) ("That'll do, pig. That'll do") at 71 and Apollo 13 (1995) ("Houston, we have a problem") at 24.
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Mel Gibson was on the set of Ransom (1996) when Braveheart (1995) and Apollo 13 (1995) were nominated for Best Picture. He pulled a prank on "Apollo 13" director Ron Howard and producer Brian Grazer by giving them an ad that claimed "Braveheart" was considered for "Best Moon Shot." The accompanying picture was a shot of the Scottish army mooning the English.
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