As America celebrates
Independence Day, Mel Gibson’s return to the big screen in the Patriot
reminds us not to take for granted the painstakingly forged country
that has insured prosperity and freedom for so many diverse people. To
the film’s credit, even the glory and necessity of the fight for
Independence is shown with the horrifying realities of any warfare.
Capt. Benjamin Martin (Mel Gibson) eloquently opposes the rhetoric and
bravado of the call to arms because war is not a glorious game but hell
to be avoided. A widower with seven children, Martin still lives with
the ghost of atrocities he committed as a hero of the French and Indian
war.
Despite its power to
invoke the sentiment of honor and gratitude, the movie is dampened by
some nagging unrealities. In order to fuel Capt. Martin’s avenging
spirit and increase the dramatic tension between the primary characters,
British Col. Tavington in his high rounded hat and bright green
regimental sash is made to resort to tactics of extreme viciousness that
slanders the memory and character of the British soldiers. We usually do
not quibble with historical and factual inaccuracies as long as the
story offers metaphorical truth that is supported by the created version
of events. The most spectacular instance of a pogrom occurs when Col.
Tavington locks women, children, and old men in a Church and burns them
alive in retribution for their support of Capt. Martin and his
nettlesome band of swamp soldiers. Though this was a war of horrible
causalities, the British and American soldiers fought and died more or
less by the rules of conduct that precluded killing civilians, most
especially women and children. Even though many viewers may be unaware
of the military specifics of the American independence war, there was an
unnerving false ring to Col. Tavington's gleeful and cold blooded reign
of death.
In his first scene, not
only does Tavington execute wounded Colonial soldiers whom Martin had
given aid, but he also murders Martin’s second son and imprisons his
eldest son Gabriel (Heath Ledger). The terror of losing the family he
worked so hard to protect awakens Martin’s killer instinct. As he
surrenders to it, any doubts of his fighting skills or courage disappear
while we are treated to an awesome and frightening display of a man who,
with the help of two prepubescent sons, slaughters 20 Red Coats.
Another departure from
historical accuracy is romantic idealization of the treatment of slaves.
Col. Martin’s black servants and landsmen are apparently free, which
is unlikely for the times, and seems like an exaggerated effort to add
nobility to Martin's cause. Also, one of Martin’s soldiers is someone
else’s slave who continues to fight in part because he is promised
money and freedom if he serves the Colonials for one year. That promise
from General Washington may have been true enough, but ironically, the
“evil” British banned slavery far earlier than Americans did.
The rest of the story
escalates numerous tensions of war. The guns, the costumes, the towns,
the battle tactics are all so real we smelled the powder. Mel Gibson
covers a extensive range of emotions, from a loving father longing for
his chicks, to a man consumed with revenge, to a warrior of honor and
dignity, to a brilliant, sometimes, quizzical guerilla tactician. Even
human capability for romance and wedding celebration in the midst of
tribulation momentarily wins in the lives of Martin and his son Gabriel.
Young Heath Ledger in the role of Gabriel shines with charm, mystery,
and an unmistakable screen power.
Ultimately, we are left
with a powerful 18th-century war drama and a strong sense
that great warriors must be on some level reluctant warriors.
