June 14, 2021

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The Patriot: Mel Gibson liberates America in improbable historic gang bang

1622404368 The Patriot Mel Gibson liberates America in improbable historic gang

Ask the director ofIndependence Day and the interpreter of Mad Max to revisit history is a strange idea, the consequence of which is The Patriot, the Path to Freedom.

With its sets as imposing as they are numerous, its extras by the hundreds, its extended scenarios and its exacerbation of a certain patriotism, the hollywood fresco has practically disappeared radars. Upset as much by the production methods of the industry as by the changing tastes of the public, the genre fell into disuse at the turn of the 2000s.

One of its last representatives was The Patriot, released in 2000 and directed by Roland Emmerich, which retraced the American War of Independence. Welcomed fairly freshly on its release, criticized so much for its historical imprecisions, its very questionable vision of the American national novel, its sentimentalism dripping in places and contrasting with a pronounced taste for violence, the film did not leave only good memories. Yet its position as the near-last of the Mohicans, produced at the crossroads of different types of blockbusters, and before the United States suffered the trauma of September 11, makes it an exciting film to revisit.

photo, Mel Gibson“Are you gonna make your peace for crying out loud?”

ROLAND’S SONG

The one called in Los Angeles “Master of Disaster” has already made Stargate: The Stargate, but above all Independence Day and Godzilla, so many blockbusters that have dedicated him as a conductor experienced in the great Hollywood spectacle, and supreme computer of destruction of all kinds.

But Roland Emmerich has a desire for a great historical narrative. He and his partner Dean Devlin are on good terms with Sony and on very good terms with new boss John Caillie. All three wish to realize a phenomenally ambitious project, containing aerial sequences such as Hollywood had never conceived at the time, a great historical war film titled Midway. He will only happen years later.

As it stands, the project is too expensive for Sony, which refuses to give the green light to the feature film, which Emmerich believes is infeasible below the $ 120 million mark. That is 30 more than what the studio is prepared to invest. The different parties therefore separate, to Emmerich’s despair, eager to change gear and get out of the disaster cinema. A wish heard by Chris Lee, director of Tristar.

However, the producer has precisely on hand a scenario likely to interest the director. That of the story of the American War of Independence, written by Robert Rodat, which the industry now follows with relish, sincehe signed the screenplay forWe must save the soldier Ryan, directed by Spielberg. Emmerich wants to shoot, finds there a creation in the vein he aspires to and accepts, for the one and only time in his career, not to write or rewrite the screenplay for one of his films.