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Braveheart (4K UHD + Blu-ray + Digital / Steelbook)
| Additional 4K options | Edition | Discs | Price | New from | Used from |
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4K
May 15, 2018 "Please retry" | — | 3 | $18.60 | $17.95 |
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4K
November 12, 2018 "Please retry" | — | 3 | $25.27 | $28.30 |
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4K
June 16, 2020 "Please retry" | Steelbook | 3 |
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| $64.96 | — |
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| Rent | Buy |
| Genre | Action & Adventure |
| Format | 4K, Subtitled |
| Contributor | Ian Bannen, Stephen Billington, Mel Gibson, Alun Armstrong, Richard Leaf, Mark Lees, Peter Mullan, Brendan Gleeson, Sandy Nelson, Jimmy Chisholm, Sean McGinley, Bernard Horsfall, Andrew Weir, Tommy Flanagan, Sean Lawlor, Angus MacFadyen, Donal Gibson, David Gant, Jeanne Marine, Malcolm Tierney, John Murtagh, Tam White, John Kavanagh, Brian Cox, Michael Byrne, Gerard McSorley, James Robinson, Mhairi Calvey, James Cosmo, Patrick McGoohan, David O'Hara, Catherine McCormack, Sophie Marceau, Peter Hanly See more |
| Language | English |
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From the manufacturer
Braveheart
Braveheart the movie, is Mel Gibson's richly detailed, Best Picture Academy Award-winning saga of fierce combat, tender love and the will to risk it all for freedom. In an emotionally charged performance, Gibson is William Wallace, a bold Scotsman who uses the steel of his sword and the fire of his intellect to rally his countrymen to liberation from the English occupation of Scotland.
Braveheart Cast:
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Mel GibsonWilliam Wallace |
Sophie MarceauPrincess Isabella |
Patrick McGoohanKing Edward 'Longshanks' |
Angus MacfadyenRobert the Bruce |
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Product Description
BRAVEHEART, the richly detailed saga of power, passion, and the fight for freedom boasts Mel Gibson as William Wallace, a bold Scotsman who rallies his countrymen to liberation from oppressive English rule. Winner of five Academy Awards*, including Best Picture, BRAVEHEART is “the most sumptuous and involving historical epic since Lawrence of Arabia” (Rod Lurie, Los Angeles Magazine).
Product details
- MPAA rating : R (Restricted)
- Package Dimensions : 6.77 x 5.39 x 0.63 inches; 6.7 Ounces
- Director : Mel Gibson
- Media Format : 4K, Subtitled
- Release date : June 16, 2020
- Actors : Mel Gibson, Sophie Marceau, Angus MacFadyen, Patrick McGoohan, Catherine McCormack
- Dubbed: : Spanish, French
- Studio : PARAMOUNT
- ASIN : B084DH5GS7
- Number of discs : 3
- Best Sellers Rank: #64,426 in Movies & TV (See Top 100 in Movies & TV)
- #5,023 in Action & Adventure Blu-ray Discs
- Customer Reviews:
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Yet, a number of people chastise Gibson and the movie for a number of reasons, primarily its departure from historical accuracy. I do believe these people have missed the point, for I do not believe it is fair to criticise a movie for failing to realize a goal for which it never really strived. I wonder: do these same people criticize Homer's "The Odyssey"? Do historical hardbodies cast aspersions at T.H. White's "Once and Future King" for taking historical liberties with "King" Arthur? (For that manner, any of the hundreds of contributions to the Arthurian legend). What about Robin Hood? Beowulf? Romance of the Three Kingdoms? Why is it copacetic for a book to create a myth around a cultural hero, but when it comes to film we must be expected to be as straightlaced about historical fact as an army bootcamp is about bedmaking and floor cleaning?
I have read a lot of reviews below and a number of criticisers of the film's historical authenticity spit out the word "epic" as if it is a word that the American film industry has abused and transmogrified into a catchphrase for luring in gullible American movie-goers. But I argue that Braveheart, and the historical inaccuracies which it adopts (and it adopts many, which are nicely pointed out elsewhere), fit the same formula for "Epic Fiction" that we use to classify great (and I mean, universally accepted as great) epic works of fiction such as the Iliad, the Odyssey, etc. These works are not about who did what where and when and in what fashion. They are about the myth, the hero, and the way that they have influenced the ideals of the culture (italicize that). Was there really a Grendel, a Cyclops shepherd, a Wizard named Merlin, or Chinese war heroes who could single-handedly take on a small army? No. And yet, these works of fiction (and the mythological heroes that they have created) have had as much if not more of an impact on their respective cultures than any real life historical event. The impact of the epic is therefore not to be underestimated. Does the fact that Gibson portrayed the battle of Sterling Bridge without a Bridge really make that much of a differnce? The end outcome was the same, at least from an idealogical point of view. He rallied his men to victory with brilliant tactics against insurmountable odds. The presence or absence of a bridge, naked men, or twenty foot spears does not change that. The myth survives.
Finally, regarding historical accuracy, there is the fact that although the movie does take a lot of liberties in order to portray a THEME - I am intelligent enough to suspend my disbelief during the movie. Furthermore, after the movie is over, (and this is a credit to the movie-maker) I was intrigued enough to go do some research on the subject from an objective historical source to find out what really happened. If a work of art (which is not, I remind you, required to be objective - artistic objectivity is almost an oxymoron and film should not be treated differently in this regard than any other form of art) instills in me a desire to learn more about a subject while at the same time portraying well the epic themes it sets out to portray, then in my book it was a successful venture and worthy of all the accolades it receives....Again, this is an epic, and just as a Greek epic might portray the Trojans as ruthless savages and their own members as heroic visionaries, I think it is acceptable for a Scottish epic to do the same to the British. And calling Gibson a homophobic is just ridiculous. Whether or not Edward II was really gay is not important. If he was, then BY THE STANDARDS OF THE DAY, he was an outcast, and would have been perceived, especially by his father, as weak, without potential, and unfit to rule. If he wasn't gay, but was just disinterested in ruling a kingdom (and history is filled to the brim with examples of less than sterling royal progeny), he would have again been seen (especially by his father) as weak, without potential and unfit to rule (because fathers - especially kings - have expectations of their sons), and questions about his sexuality would have naturally begun to arise among the nobility and commonfolk. What we as viewers of a historical or epic piece of artwork must do is refrain from judging said work by our standards. Today, homosexuality is (for the most part) accepted by society. Back then, it wasn't, and the mere rumor was enough to get you rejected from society (and vice-versa). Therefore, in light of the times in which the movie is set, the portrayal of the weak fop of a prince, EdwardII, as homosexual is both acceptable and indicative of the society that the movie was trying to portray. It wouldn't, for example, have made much sense to portray Edward I as gay. Not because a gay man couldn't be a successful King or military leader, but because a gay man would never have achieved respect as a monarch - THEN - by the people or his enemy.
In closing, this is an excellent film that deserves its status as a best picture, despite (and perhaps because of) its historical inaccuracies. I encourage anyone with any interest in medieval history to view it, because it might just entice you to look into more historically accurate documents that, while not as entertaining as the movie iteself, will give you a more wholistic picture of what really happened.
Though dismissed (even by admirers of his film) as “a star trying to direct”, Gibson exhibits a high pedigree of invention in Braveheart — the sequence when Wallace returns to the village and exacts revenge on the English occupiers is among the most powerful ever put on screen. Likewise, Gibson’s unflinching depiction of a medieval melee — in gruesome, messy candor — was quite unlike anything seen prior.
The love story is equally compelling, and the sequence where Wallace courts Murron among the most touching and romantic ever put on screen. James Horner's music for these scenes is achingly beautiful, bursting with tenderness and longing, and the score overall boasts some of Horner's finest work.
Gibson’s performance is equally praiseworthy, investing William Wallace with a larger-than-life heroism, masculinity and virility, which results in one of the best screen characters of this kind.
It is also no exaggeration to say Braveheart holds-up incredibly well after nearly 30 years. Whereas a film like Spartacus (to which Braveheart is often compared) seemed like a product of its time in 1995, Gibson's film today comes across as one that could have been made within the last decade (albeit with a considerably-better music score than we are used to hearing these days!).
Although Gibson’s personal reputation would suffer in the following decade, that does not diminish the absorbing power of Braveheart, a film of inspiring heroism and passion, which has been oft-imitated (its influence is all over Gladiator and Lord of the Rings) but never equaled.
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