The 1995 best picture winner is less interested in historical fact and more in rousing fantasy and makes for a telling portrait of its troubled maker
For a storied best picture Oscar winner and dorm-wall poster staple of the 1990s and beyond, it’s a little surprising how modest Braveheart’s success was when it opened in theaters 30 years ago. Though it powered through a mild opening to become a solid summer hit, on the 1995 charts it sits below Father of the Bride Part II and Congo (though congratulations are in order; it did edge out both Grumpier Old Men and Mortal Kombat). Even among other Mel Gibson vehicles from the 90s, you might be surprised to learn that Maverick, Conspiracy Theory and Payback all posted stronger numbers.
But Braveheart stuck around, both in theaters and in the public consciousness. It wasn’t necessarily tipped as an awards contender at the time of release – Gibson had only directed one other movie, a small-scale drama called The Man Without a Face – but wound up nominated for 10 Oscars and winning half of them, including a best director prize for Gibson. He wasn’t nominated for his performance, but it became a career signature, his rousing speech and blue facepaint instantly absorbed into his iconography. He plays William Wallace, a Scottish warrior who leads a rebellion against King Edward I in the 13th century, when Scotland’s dead king left no heir and England swooped in to conquer. The details of the story, which positions Robert the Bruce (Angus McFadyen) as a politicking compromiser, are inspired more from an epic poem than the historical record, which presumably aided its easy-to-follow epic pull.
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