Who remembers anything from their school days history classes about Robert the Bruce? I’d wager very few in the United States and that’s just one of the things that makes OUTLAW KING a “must see” film as it fills in the gaps on yet another often overlooked piece of world history that served as a “model” for many future geopolitical scenarios which occurred over the centuries.
Writer/director David Mackenzie introduces us to Robert the Bruce immediately after the death and dismemberment of William Wallace whose body parts were placed across Scotland by the King of England as a means to send a message to the Scottish people about what happens to traitors to the Crown. Under pressure from the people, it falls to Robert the Bruce to pick up Wallace’s mantle and fight King Edward and his son, Edward, Prince of Wales, for the Scottish crown. (Scotland has never been a fan of being under the rule of England which filmgoers will also see in “Mary Queen of Scots”.) From the brutal murder of rival John Comyn at the altar of the Church of the Greyfriars in Dumfries to Robert the Bruce’s exile, Mackenzie runs the gamut of emotions, notably with the transformation of Robert the Bruce from quiet and thoughtful man to the moment he is taunted and threatened by Comyn, resulting in Robert the Bruce impulsively stabbing and killing him. Thanks to some stunning ECU lensing by cinematographer Barry Ackroyd, and wide-eyed shock and horror exhibited by Chris Pine, Mackenzie puts all the emotional eggs in one basket as we wait to see how this mortal sin committed by Robert the Bruce will be remedied. As he transforms from revered nobleman to outlaw, with a small cadre of militia by his side, and the blessing of the church, Robert the Bruce wages war against England with some of the most visceral and bloody battles recorded as he moves to reclaim Scotland’s independence from England’s tyranny.
Mackenzie wastes no time in delving into the “untold true story” of Robert the Bruce as we meet both he and the Prince of Wales in a 360-degree taunting dance of a swordfight where the jabs and pricks are as biting as the dialogue between the two. Immediately we are drawn into the dynamic and the insecurities and jealousies of the Prince as to Robert the Bruce, expertly displayed in Edward Howle’s performance, then countered by Robert the Bruce’s own thoughtful reticence. Chris Pine perfectly internalizes Robert the Bruce until the time comes for him to emotionally, and physically, explode. Until that moment in Act 2, he is surrounded by extremely fascinating and well fleshed-out characters – his wife Elizabeth, Lord James Douglas and the young squire Drew – each who serve as his moral compass while saying and doing what Robert the Bruce is thinking; particularly when it comes to Florence Pugh’s Elizabeth. Wonderful structure by Mackenzie.
Riveting in “Lady Macbeth”, Pugh is so again in OUTLAW KING. She is a force of nature on screen and the camera loves her. And Mackenzie very keenly uses Elizabeth as a prescient bookend for Robert the Bruce’s charted course, initially speaking about staying the course, raising the sails and setting off, metaphoric as to how Robert should face his adversaries in these trying times. And then by Act 3, we see Elizabeth’s words take hold literally as the small passionate group of Robert’s loyalists set sail in the lochs, raising sails and soliciting support from all of the clans. Nice wraparounds throughout the entire script.
Aaron Taylor-Johnson as James Douglas delivers a powerhouse performance that ranges from sobering loyalty to maniacal vengeance. Brilliant. And then there’s Stephen McMillan’s performance as the young page Drew whose innocence and hope mirrors that tacitly within Robert. Keep your eye on young Drew and a wad of tissues in your hand when he’s on screen. The depth of the supporting characters throughout is strong, but particularly with those three who surround Robert.
While there is a nice historical introduction with William Wallace and the Scottish timeline, the film could benefit from a bit more historical context and clarification as there are so many moving parts and players here. For example, reference to “Flying the Dragon”, and the red dragon on the English flag. Originally associated with King Arthur, by the late 1100’s and 1200, it became part of the Welsh flag and Wales, and given that the Prince of Wales was hellbent on killing Robert the Bruce makes sense to fly the Dragon, but some exposition about its meaning and intent would be welcomed.
The production values and technical polish on this film is off the charts with excellence. Authenticity of blood and gore is fabulous. From Robert’s brother being drawn and quartered and entrails cascading to the ground, to Elizabeth being suspended in a cage above a frigid sea, to various armaments and battle tactics, all are incredibly detailed and beautifully showcased by Barry Ackroyd’s cinematography. Gloriously immersive. The opening sword fight between Pine’s Robert the Bruce and Howle’s Prince of Wales is mesmerizing. Lensed like a boxing match, not only does Ackroyd move the camera in a 360 around the two men, but pulls the camera in and out in rhythm to the footwork and body movement of each man. One minute the camera is moving in as Robert lunges with his sword and in the next, pulls back and the two men stumble almost in a drunken fashion, bobbing and weaving. The camera bobs and weaves, jabbing and pulling back as the bodies. Widescreen vistas are spectacular and truly showcase the beauty of the land and the waters while providing a geographic sensibility of distance. Equally as impressive are the quiet intimate moments as Robert and Elizabeth grow closer. The camera continually inches into closer framing as the couple grow together and lighting even darkens in the shadows allowing focus to truly be on the pair. But where Ackroyd knocks it out of the park is with the battle sequences and particularly the climactic battle at Loudoun. A bucket o’ blood bloodbath, the camera moves at a furious pace – as does Jake Roberts’ editing – with handheld shots so tight that make one feel as if they are part of the battle as swords plunge and slice, spiked logs pierce horse flanks, man is piled atop man and blood and mud cover all. Beyond edge of your seat, white knuckling tension. And not for the faint of heart. Dare we even mention the exquisite flaming arrow night shots and flaming encampment? Ackroyd truly finds beauty in the horrors of war.
As if Ackroyd’s visuals aren’t enough of a reason to want to see OUTLAW KING on the big screen, the devil is in the details of what Ackroyd is lensing that truly set OUTLAW KING apart from the rest of the pack. So tapestried and textured, Donald Graham Burt’s rich production design is so minutely detailed that to catch all of the touches you really want as big a screen as possible to see the film! No detail is left undone. The intricacy within field tents is as equally beautiful and detailed as the various castle rooms and ornate beds. Compounding that is Jane Petrie’s costume design. From chain maille to the rich silk fabrications of gowns worn by Florence Push’s Elizabeth (a peacock blue with embroidered design is to die for) to the burlap and sueded cotton and heavier wools and muslin of the laboring Scots, to ermine cloaks for the King and Queen, each is distinctive and both period and status perfect. The detail of the costume construction is meticulous to the point that we can see the wide hand stitching that seams together the bodice and sleeve of a quilted tunic or the unfinished edging of pants treading through muck and mud. Don’t be surprised to hear the names of Jane Petrie and Donald Burt called come Oscar nominations morning.
And yes, we are all in for an added treat as we watch Robert the Bruce emerge half-clothed from a morning bath in a highland pond, backlit by blue sky and a rising sun, with profile and full frontal views.
Be Robert the Bruce an outlaw or a king, OUTLAW KING is a grand and glorious telling.
Directed by David Mackenzie
Written by Bash Doran and James MacInnes and David Mackenzie
Cast: Chris Pine, Aaron Taylor-Johnson, Florence Pugh, Billy Howle, Sam Spruell, Tony Curran, Stephen Dillane, James Cosmo
by debbie elias, 10/17/2018
