Films are not history . . .

Rating: 9/10 (28 June 2000)

I have grown weary of people who bash films for historical inaccuracies, as if to suggest all films are meant to serve the same purpose as history books. I am even more amazed at how when someone likes a movie they conveniently forgive historical revisionism (Titanic or Saving Private Ryan anyone?). Much of the criticism against The Patriot is leveled not at the film, but at the history the film supposedly presents. The filmmakers made it very clear to reasonable people that they had no intention of making a historical film. They changed the main character's name to avoid confusion, they intentionally kept most real historical figures of the American Revolution at a distance. History is not always good storytelling, but good films always are about good storytelling. Basically, nowhere in the film itself is there any suggestion that it should be viewed as or aspires to be a history lesson of any kind.
That being said, people can debate the merits of the real actions of the real Francis Marion and the cause of the real American Revolution until they are blue in the face, but it has nothing to do with this film. Suspension of disbelief is a big part of any filmmaking endeavor, and when a filmmaker wishes to bypass that mechanism it is pointed out to the audience (Schindler's List for example). Yet storytelling still prevails even in the most historically accurate films as most filmmakers will attest. The Patriot is not such a film, it is intended to entertain, not educate, and that is just fine--we need both types of films, just as much as we need people who can tell the difference.
The Patriot is a truly remarkable achievement considering the last film from this producing/directing team was Godzilla. The film is centered and held together by Mel Gibson's performance which is certainly his best to date. Still, much credit is due the cinematographer, director, screenwriter, and editor for being able to take melodrama to such high levels. There are many characters here and their inner-struggles are brought out. Benjamin Marten's character is most compelling in that he is not so perfect--he makes mistakes, has regrets, and is still dealing with his temper.
There is no pretense in this film--it does not "reinvent the wheel," but never claims to either. It is just a film that gives us some great characters, a compelling story, and solid delivery.
In the end (at least for those of us who leave our baggage about PC historical accuracy at the door) we are well-rewarded with a solid film that pays off more than most.