Rob Roy

 Liam Neeson is a first rate actor who has never lacked for work (or fortunately the desire to work a lot).  Since his first onscreen role as Jesus Christ in Pilgrim's Progress in 1978 he has often appeared in multiple films per year.  While his star power rose substantially after the unexpected success of Taken in 2009, he had his first big ascension in the wake of Schlinder's List, a film for which I thought he should have won Best Actor.  A little over a year after the release of that film, Neeson headlined the Scottish themed film, Rob Roy, which I mentioned in my post for The Grey . Rob Roy is directed by Scottish director Michael-Caton Jones, who directed a few other dramatic films I liked such as Doc Hollywood (1991) and City By the Sea (2002) and a couple with terrible scripts such as Basic Instinct 2 (2006) and The Jackal (1997).  

Neeson excels at both drama and action and Rob Roy allows him combine both of these skills.  Rob Roy is an excellent swordsman and a fierce fighter but also puts a sense of honor above all else, which damages his family indirectly in the course of this story.  This film is full of chases and swordfights but also has a real sense of community since it also involves Rob's clan.  

Jessica Lange costars as Mary McGregor, Rob Roy's wife.  Although Neeson has had many onscreen love interests his characters are usually single and sometimes widowed as Neeson himself sadly is.  But here Neeson and Lange have a fiery marriage that has a passionate love at its core.  They tease, flirt, bicker, and have an active sex life.  I most enjoyed their playful line "Do you know how fine you are to me?" with a real emphasis on the word 'fine in their Scottish accents.

Neither Neeson or Lange are Scottish but you could have fooled me watching this film.  Neeson is from Northern Ireland but his accent sounds much more Scottish to me than Mel Gibson's in Braveheart.  Lange is from Minnesota but early into the film and she fully convinced me that her Mary MacGregegor has never set foot outside of the Scottish Highlands where this film is set.

Regular readers of this blog may note that I occasional reference the TV show Outlander, which is based on a series of books by Diana Galbaldon.  Rob Roy shares more than a few elements with this long running show.  They take place in the 18th century Scotland (which Outlander does for the first few seasons).  Both have a couple at their center who love each other intensely but sometimes disagree just as fiercely.  The man is unusually tall, an expert fighter, is driven by a sense of honor and a natural leader.  The antagonists are English, in particular one influential and sadistic man.  All of this is to say if you like Outlander and miss it during its long absences between seasons, you will likely enjoy a viewing of Rob Roy.

Side note here.  As of 2024 for the past 15 years Neeson has acted in a lot of B-action films that take advantage of his tough guy persona.  Many film fans feel that his talent might be better used elsewhere.  I have mixed thoughts on that.  I have seen a couple of these films that I otherwise would not pay attention to.  Taken, which started this phase of his career is like a feature length version of a terrific 24 episode.  The sequels were pretty substandard, especially Taken 3.  The Marksman and Ice Truckers seemed a little beneath him but were fine.  I feel asleep during Nonstop.  Unknown is a twist on the Bourne Identity that I could take or leave.  I enjoy his dramatic work much more such as his brief appearance in Gangs of New York, Seraphim Falls, and Ballad of Buster Scruggs.  But most of all I am glad he works so much since I enjoy his presence in any film.  

Spoilers below:

Rob Roy takes place in 1713 and introduces the title character as Robert MacGregor, the head of a Scottish clan who borrows money from the Marquess of Montrose (played by a preening John Hurt) to buy cattle to help his clan.  A scheming relative of Montrose, Cunningham (Tim Roth) steals the money from a member of the clan and Robert is responsible for the debt.  Montrose offers to forgive the debt if Robert (who has some public standing as the head of a clan although the area is controlled by the English) will publicly declare that a social rival, of Montrose's the Duke of Argyll (Andrew Keir) is a Jacobite.  Robert refuses and has to go on the run.  Cunningham is sent after him and while Robert is hiding Cunningham leads troops to Rob Roy's home, shoots his dog and cattle, burns down his house, and violently rapes Mary.  Mary swears Robert's brother Alasdair (Brian McCardie), who was supposed to look after the family but did not arrive in time, to secrecy, afraid that Robert will get himself killed trying to avenge the assault.  Robert eventually finds out when Alasdair confesses as he is dying and after being captured, tortured and escaping, settles the matter in a final duel with Cunningham.

The film is loosely based on history.  Rob Roy was a real character but while the character is shown defending his clan's cattle in real life he ran a version of a protection racket for a fee.  Rob Roy did have a decade long feud with Montrose over an unpaid loan which was meant to purchase cattle.  The film provides us with Robert's version of the events (that a member of his clan in charge of the money must have been robbed) but the truth is unknown.  In the film Robert and Montrose speak to how the clan steals Montrose's cattle and rents but the edge is taken off because we never see it.  In contrast Montrose is shown as a petty man who willingly turns his back to Cunningham's crimes.

When I saw the trailer for this film I was pretty intrigued and convinced several friends to go watch it.  For the first hour or so I thought they might be mad at me since while the plot is not boring, it does move more slowly as it sets up the characters.  Once Robert becomes a fugitive the pace picks up and thanks to the work done in the first hour we now have a clear sense of who everyone is,

The film opens with a charming Scottish tune, introducing Carter Burwell's score which is by turns both intimate and epic.  The lengthy opening shot of the Highlands introduces us to both the location and the characters as first Eric Stolz' Alan McDonald comes into frame followed by Neeson's Robert, which causes the music to swell and we also hear a choir, which is Caton Jones' and Burwell telling the audience how important this hero is.  Robert and Alan (and a few other men) are chasing cattle thieves but once they find them Robert attempts to resolve the matter without violence.  Ultimately Robert easily kills the one man who challenges him but his presence spooks the other thieves.  Later a man called Guthrie threatens Robert, we see his ingenuity in defusing the tension by cutting his own hand on Guthrie's blade, which foreshadows the climax. 

From there we meet Montrose and Cunningham and establish the betting between Montrose and the Duke of Argyll.  During this scene there is an awkward edit in which Hurt and Roth in a wide shot are in one pose, there is a cut to a medium shot, and then when it cuts back to the wide, their poses are different.  Roth, who was energetically malicious and but also somewhat pathetic a few months earlier in Pulp Fiction, is delicious as the effeminate Cunningham.  His elaborte bowing is designed to force the tough Scots people to underestimate him in dueling contests.  Roth's Cunningham is a shameless leech, sucking blood from anyone who could benefit him.  

Rob Roy was overshadowed a little by Braveheart in 1995.  Fortunately Rob Roy made it to the cinemas about six weeks ahead of Braveheart or it might have been completely overlooked.  Both films deal with Scottish clan struggles against the English on their land, but Braveheart is told on a much bigger scale and had a much bigger star (at the time) in Mel Gibson.  Brian Cox appears in both films.  In Braveheart Cox played William Wallace's uncle who both educates him and teaches him to fight.  Here he plays Killearn, Montrose's  greedy property manager who teams with Cunningham to steal the money Robert borrowed from Montrose.  Cox, a big man, through posture and sneaky looks makes himself appear small and scheming, perhaps in part to appear to have a similar height to the much shorter Roth.  

Caton-Jones makes an interesting directorial choice.  As Robert's clan is celebrating the promise to be able to buy more cattle at a nighttime party to the sound of a Scottish song he cross cuts it with Cunningham first following his prey, Macdonald, toying with him and then chasing and killing him.   

Robert takes responsibility for the loan and when he goes to see Montrose, Montrose tries to exploit the situation (since he does not really care about the money) by getting Robert to bear false witness to the Duke of Argyll.  The staging of the scene, in Montrose's elaborate garden, lot, is both notable and curious.  Neeson as Robert stands tall when refusing Montrose's offer and is sharp when he warns Cunningham not to draw his blade.  When Cunningham comes to arrest him Robert outdraws him with a dagger.  As Robert decides to go on the lam he only pushes Cunningham down before running away instead of knocking him out, but since he has disarmed Cunningham, and probably has no idea how dangerous Cunningham is, it seems to be enough.

Mary rebukes Robert for his stance and is partially right since she suggests he tell the Duke of Argyll, but Robert's pride goes too far.  Mary is angered that he must go into hiding and accuses him of enjoying the renegade status.  Robert is a little naive as he never seriously considers that Montrose might send people after his family.

The sequence in which Cunningham and Killearn attack the MacGregor family farm is extended and disturbing.  The sight of Cunningham and the Redcoats in the boat coming out of the fog while Mary is relieving herself is scary.  Cunningham shoots the dog which is one of many actions he takes that makes the audience (and this dog loving writer) hate him, though fortunately Caton-Jones films that from a distance.  As Cunningham comes into the house and forces himself on Mary it is shown as very matter of fact.  Cunningham seems to get no statisfaction and Lange shows Mary holding her composure until after the men leave.  To add to Mary's humiliation it happens right in front of Killearn, who neither helps nor participates.  Cunningham seems to mostly do it as a power play to draw MacGregor back in but it seems excessive since MacGregor has done little other than disarm him.  As Mary recomposes herself she foreshadows the conclusion by warning Cunningham that Robert will avenge this attack (though she says it mostly to try to unsettle Cunningham) since once the men leave in a very powerful moment warns Alastair (who is ashamed to not have arrived in time to help, not that he could have done much) not to tell Robert since she is afraid he will be killed if he goes after Cunningham.  To punctuate the attack the MacGregor house is burned which only emphasizes the cruelty that the rich can do to the poor.  

While we soon see Robert with Mary it feels like there is a cut scene somewhere in which they reunite.  In a lesser film the hero could be diminshed by not knowing about this huge assault on his wife but instead it gives Lange a lot of material to work with, which she does beautifully.  She manages  the tension of keeping her secret from Robert while trying to work the situation to her advantage.  When Mary meets with Betty, the, the two share a strange intimacy (though unknown to Betty) since they unfortunately both know Cunningham better than they should.  Mary might have judged Betty for bedding Cunningham but shows a lot of compassion instead ("Love is not a sin, only the lack of it).

The audience gets a rush when Robert goes after Killearn and kills Gurthrie in seconds, which terrifies Killearn (Cox's reaction is priceless).  The following scenes are intriguing but lack a certain logic.  Mary seemed ready to tell Robert the truth but then attacks Killearn for mocking her.  I thought it unlikely Robert would leave Mary alone with Killearn.  It is also very convenient that both Betty and Killearn die so close to each other and Robert does not suspect anything odd about it.

The following sequence also tests logic, though it is effectively filmed.  There is no set up to the moment in which Robert's men are watching Cunningham burn another house and it triggers Alastair, who is still carrying the guilt for Mary's attack.  But Alastair should have realized that firing on the Redcoats would only lead to the deaths of some of the clan which is exactly what happens.  I like the chase through the fog but Alastair's death and Robert's capture are predictable.  I also wonder why Alastair shot a random redcoat instead of Cunningham who was clearly in his sight.  If he was aiming for Cunningham and missed it is not clear.

While Alastair's death is tragic it also is quickly glossed over to allow for his confession about Mary's attack to take over.  Neeson does not overplay the shock as Robert realizes the price that his issue with Montrose has taken on his family. The quick face off between the two antagonists foreshadows their upcoming duel.  As staged it is clear that Robert being forced to walk behind the horse is a form of torture.  When Robert is faced with Montrose his voice is hoarse (as he has probably had nothing to drink) for a day or so and Montrose is a little curious at Robert's accusations against Cunningham since he knows Robert is honorable.  Robert's insult to Cunningham as ""this thing here" gives a moment of levity.  Robert's ingenuous escape has a comeuppance against Cunningham since it hurts him badly but it feels a little staged that no one reacts when Robert grabs the rope and ties it around Cunningham's neck.  Even Cunningham stands there passively, although they perhaps never expected Robert to try to escape by jumping over the bridge.  Robert's gamble that the redcoats would cut him free to save Cunningham from asphixiation works, but he had to try something or he would have died for sure.  The hiding under the dead animal saves MacGregor's life but I wonder how he kept from retching while there.

Mary's scene with the Duke of Argyll (who in real life did give the MacGregor family sanctuary) allows her to restore the family's honor and now with the benefit of time give her some perspective on MacGregor's decision-making skills. In real life the actual events of the film took place over ten years but since the MacGregor kids do not age much it appears to be much shorter, perhaps a few months at most.  Also Mary is pregnant but not yet showing at the end of the film and it is not clear who the father is.  Mary and Robert are shown to have an active sex life but it is also possible the child is Cunningham's, who assaults Mary pretty early on.  

When Robert comes home the reconciliation scene is touching.  Robert sits in the chair almost unable to face Mary because he feels so guilty for her rape. Mary is forgiving but never discusses her trama, and just relieved that Robert is alive.  Robert shows perhaps more sensitivity than a man of this time would, telling the boys (and making clear to Mary) that whatever the child's parentage, it will be welcome as part of the MacGregor family.  The MacGregor boys feature so little in the plot that they are not even named onscreen, although the parents clearly care for them a lot.  I would not be surprised to learn there are cut scenes with the children but they had been removed to focus more on the main plot.

The duel (which did not really happen as Robert had no feud that we know of with any of Montrose's men) is set up pretty quickly.  In fact Robert and Cunningham meet about ten minutes of screen time after Robert's escape.  When Robert is warned by the Duke that Cunningham is dangerous his resolution gives the Duke pause.  The score in Robert's goodbye with Mary hints strongly that he will return.  

When I first saw this film I was nervous for Robert since we know how slippery Cunningham is.  In a  fistfight I would favor the much bigger Robert (Neeson is 6'4 and Roth is 5'8) but a swordfight in a wide area favors the younger and faster Cunningham.  True to form the Scottish Robert selects a heavy broadsword and Cunningham selects a rapier and removes his silly wig to show a crewcut underneath.  Argyll also bets with honor against Montrose and makes sure Robert's debts will be clear regardless of the outcome.  

A lot of films with swordplay make an extended one-on-one duel a grand production in part to keep audiences involved and also perhaps to cover up the actors' limited fencing ability.  Robin Hood: Prince of Thieves has a big swordfight betwen Robin and the Sheriff of Nottingham but it has a lot of quick exchanges while Robin chases the Sheriff across several rooms.  Die Another Day has a sword contest between James Bond and the villain Gustav Graves but it also involved them chasing, punching, and throwing swords at each other and it goes across a fancy club and ends up in a fountain outside.  Both of the previous scenes are exciting but not remotely authentic. 

In this film the duel lasts for about five minutes and the film never cuts away nor is there any comic relief.  I find it an incredible action scene because it is so intimate.  The focus is on the men and the actors clearly both know how to fence for the camera and how to make it look real. There is no score or dialogue until the finale of the fight.  They have exchanges, pause, Cunningham sometimes will make a small cut and then move away.  Robert always gives ground and gets the more tired of the two due to the heavy broadsword.  Toward the end it looks like Robert will be killed when he is on his knees.  Again Robert's escape is clever.  When Robert grabs the blade it shows good mental calculation in his willingness to take a painful cut (blood starts dripping from his hand almost immeidately) in order to  get Cunninghum to hold still long enough for Robert to cut him open with the broadsword.  Robert's look at Cunningham whne Cunningham is standing over him is off defiance without fear and Neeson shows us Robert making the decision.

One could question why Cunningham does not move away as Robert gets up and grabs his sword but I think he is both stunned by what Robert is doing and also is trying to get full control of his sword (which Robert with his superior strength is holding onto with all his might).  It is satisfying to see Cunningham, who is in a lot of the film and does not at any point do something with honor, die a bloody death.

The close of the film reminded me of the end of a few episodes of Little House on the Prarie, particularly when Charles comes home after being away for much of the episode (like the first season's 100 Miles Away) and there are distant shots of the family rushing out to greet him while the music swoons.  The film ends much the same way.  Robert comes come and his family outside the cabin to thrilled to see he has survived and ended the life of the man who hurt them so much.

Rob Roy is a sentimental and at times violent yet rousing adventure film.  I highly recommend it and wish the film, while by no means a failure at the box office, had gotten the bigger audience it deserved and perhaps we might have seen Neeson and Lange give us another visit with the MacGregors.  But I am very glad at least this fine film exists.  ****