The story of the first major battle of the American phase of the Vietnam War, and the soldiers on both sides that fought it, while their wives wait nervously and anxiously at home for the good news or the bad news.
Navy S.E.A.L. sniper Chris Kyle's (Bradley Cooper's) pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can't leave behind.
It is 1776 in colonial South Carolina. Benjamin Martin, a French-Indian war hero who is haunted by his past, now wants nothing more than to live peacefully on his small plantation, and wants no part of a war with the most powerful nation in the world, Great Britain. Meanwhile, his two eldest sons, Gabriel and Thomas, can't wait to enlist in the newly formed "Continental Army." When South Carolina decides to join the rebellion against England, Gabriel immediately signs up to fight...without his father's permission. But when Colonel William Tavington, British dragoon, infamous for his brutal tactics, comes and burns the Martin Plantation to the ground, tragedy strikes. Benjamin quickly finds himself torn between protecting his family, and seeking revenge along with being a part of the birth of a new, young, and ambitious nation.Written by
Benjamin's retort on "tyrants" is actually a rephrasing of a quote by Mather Byles, a Loyalist clergyman from Boston. See more »
When Tavington is walking through the house we hear the jingle of his spurs. Close-ups of his boots reveal he is wearing English Spurs which are solid and would not jingle. Spurs that jingle, notably Western spurs, have rowels (rotating discs or stars) which make the jingle sound. See more »
I have long feared that my sins would return to visit me, and the cost is more than I can bear.
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In the extended edition, the "ambush" scene following the death of Thomas. In the original edited version of the film we soon observe the infamous Tavington interviewing a dying witness of the event in a battlefield tent hospital. It is in this scene that the witness compares who we know as Benjamin Martin to a ghost. The problem is, as far as we knew, there were no survivors. We had to accept at face value that perhaps one must have escaped. In this version of the film we now know the facts! You see, after Martin does his bloody hack job on a would-be escapee, the camera pans in on one particular Redcoat as he lays wounded in a nearby swamp. We then get a peek at what he sees through his one dying eye: an eerie glimpse of Martin flitting through the dim light of the heavily-wooded forest. Then the camera focuses again on the bloodied face of this dying witness. It is not long thereafter that we discover that this poor chap actually survives (he's the one in the hospital tent). See more »
The Patriot is technically a good movie. Nicely made with good characters, good acting, a strong storyline and fabulous cinematography.
But, to say this movie distorts history would be an understatement. And that is extremely sad in a movie that sells itself as an accurate portrayal of events during the revolution. The Patriot, unfortunately, crosses the line and try's to portray as 'actual fact' a film which is predominantly fictional. Hence, the 'real life' equivalent of Benjamin Martin actually used to scalp Native Americans in his spare time (a fact neatly overlooked by the director).
This 'rose tinted' view of history is at its worst during the church-burning scene where a British Army officer ordered the murder of many innocent civilians by locking them in a church and setting it alight. This event never took place and yet, thanks to The Patriot, a whole generation of Americans will believe that the British Army actually committed this horrendous act in South Carolina -- when in fact history shows that it was not the British Army that burned a church full of people in 1776 but the Nazis that did during WW2.
As a Brit, I don't so much mind Hollywood always portraying us as the 'bad guys' -- after all it is American money making these films -- I'm more concerned that some Americans actually believe what they watch. This is especially true in movies like The Patriot which 'pretend' to be real.
It's a shame that in such a technically competent movie, which pays such attention to minutiae detail like the costumes, that something as significant as the accuracy of the screenplay could have been so grotesquely overlooked.
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