Got nominated for the Academy Award, Golden Globe and won the BAFTA for Best Supporting Actor, but should have won all of those awards, not just the latter.
best scene was when Archie's sitting with the neck bandage and responds to Montrose who says, "He speaks! One should never underestimate the healing powers of hatred!" and walks away while Archie sits there just looking annoyed as usual xD
I like how this duel is pretty much decided in the first fifteen seconds. You can see Tim Roth's character clearly reading Liam Neeson's body language. He can see he's used to a broader, heavier blade. So he plans to humiliate his opponent with scratches and slices. But Rob Roy does give him the challenge and exhilaration he was looking for. Cunningham wants a duel with a legend that he can boast about for years to come, but he doesn't want it to be a short anecdote. Rob Roy simply wants to kill a bastard.
In my opinion Rob Roy understands his opponents style and basically employs the old rope a dope strategy, he behaves as if he's physically spent to lure his opponent into being overconfident and finds the right opportunity
What you miss is that Liam Neeson is a good bit taller than Tim Roth. You can see it when they face off. Cunningham's (Tim's character) tactic of rushing in quickly then backing way way off negated his opponent's reach advantage.
0:48 Him taking of the wig completely changes the tone of the scene. Incredible how simple but effective it is by almost taking of a mask in some form.
Absolutely! With the wig you can't help but think he's just a pompous dandy who lays around a lot musing about the politics of the monarchy. The second he takes it off, you're like, "oh shit, sure he might be small, but he looks likes he's a super serious gym rat that trains at fencing a lot." 😄 You look back at Rob Roy and think he's the one who looks unserious. You can't be good at killing people having long hair. It's absurd! Surf broskies, bohemians, and hippies aren't ruthless killers.
@@TotalTech2. nothing to do with him being a monster. him removing the wig symbolizes him getting serious, dropping the prancing puff facade that he has to put on to blend in with the upper class and revealing his true self - a dashing stallion; his moral disposition is irrelevant here.
Yes! Its also to highlight the complete contrast to the sword fight at the start of the film where he effortlessly and foppishly runs rings around his opponent. I always saw the wig take off as an acknowledgment and demonstration that he means business in this fight. He expects to win but knows he has a serious and determined opponent in Rob. The utter disbelief on his face when Rob grabs the blade seals it.
@@Schrankerle one of the best lines from Montrose, when Archie's throat was healing: "He speaks! One should never underestimate the healing powers of hatred!" lol
MUsic and lack of it is great effect in good and arguable also in bad movies. As good music music choice might even turn bad or mediocre movie in to something better!
The speed of Tim Roth's character (or the fencing double who performed the action - especially in the wide shots) is terrifyingly violent and ferocious. He just races at him. An attack of just pure violent speed. I agree that it's the best sword fight in cinema. Seems the most real, violent. People rarely act like they're about to really die on film. Usually, all you get in filmed sword fights are the stupid, staged, fake, back and forth crap. It’s even interesting that the sniveling, arrogant, asshole nobleman (Tim Roth's character) is a skillful fighter - once he takes his wig off.
@@69jbr69 I know.. Right. That flip was totally random ..and a bit dangerous even if it was a dulled blade. I am curious how many takes they did of that final scene
Anatomically doesnt seem plausible that he should bleed from his mouth...or maybe the wound did slice the top of his heart to the gut..its a movie..damn..
I remember being a minor extra, one of the 'rabble' when Tim Roths character was fighting Will and although I might be mistaken, I thought there were more people in the room when Liam Neeson and Tim Roth fought, memory gets hazy. Anyway, Tim Roth's sword master double looked uncannily like....Tim Roth! He was deadly. I mean, ridiculously talented with a blade. Tim Roth was also an incredibly nice guy on set, so was John Hurt, no egos, just great actors. Didn't speak to Liam Neeson but he always acknowledged the crew and cast so he certainly came across as a decent guy. Lots of fun filming. I thought Michael Cayton-Jones gave a lot of respect to Scotland by actually filming it in the country. Different film from Braveheart but like many comments, the action scenes were realistic and whoever played Liam Neeson's double in the water did a great job
Braveheart is a ridiculous film but in a fantasticly fun way. As someone that grew up in Scotland in the 90s it will always hold a huge amount nostalgia for me. But put them side by side Rob Roy is a better film in almost every way (budget might be the only exception).
Probably one of the strongest psychological advantages Archibald has is that he keeps cutting Roy off every time he goes to attack or evade and just sits there staring him down like "we both know I'm toying with you"
Roth's small stature paradoxically makes him so much more lethal with the thinner, lighter sword - keeps swiping at the legs + quick stabs, while easily dodging the slow, heavy, high attacks. being 6'2" I would've shit my pants against a little dude like that
Archibald is too small, fast, innovative and vicious for Rob. All that space to move. He can just slice Rob to ribbons and hop around him like a horsefly. He is small so he is not going to tire at all. He can cut on him all day. Rob was no match.
Never saw the Deluge but I'll check it out. The Duelists is, in my opinion, better with sword choreography than this film as each duel there showed off a different style of how people fought. I've tried buying the movie but can't find it anywhere!
I love the detail that shows that Rob Roy is so exhausted, near the end he just drags his sword on the ground just to save some strength in his arm for another block or attack.
Ive seen someone else point out that this was probably an exaggeration by Rob Roy to lure his opponent into a false sense of security. Certainly he was close to exhaustion, but he played it up.
@@molasorrosalom4846 Hate to be 'that guy', but in actuality the two blades are nearly identical in weight, both coming in at approximately 2.2 pounds (1.1 kilos). Where the rapier does have an advantage is that it has about 5 inches of length on the broadsword, as well as its geometry and weight being well distributed for quick thrusting attacks. The broadsword's main advantage here is that its weight distribution lets it cut, chop and slice much more effectively, meaning that any single injury inflicted is likely to be much more severe than the relatively shallow cuts we see Cunningham inflict. Of course, a swing with a broadsword will still tire someone out much faster than a swing with a rapier, but that's mostly due to economy of motion as opposed to any difference in the weight of the blades. Swinging just about any sword is more tiring than thrusting with it.
The only reason I watch Rob Roy is Tim Roth's performance. Easily one of the best villains on screen, and this duel is epic. Beautifully paced and choreographed.
I think Its better if we watch it for the performances of Jessica Lange and Liam Neeson. I respect your opinion but Tim Roth's acting is so dark. I hate that, especially when people like those kind of performances so much.
I am not entirely sure Roth wanted to tire him out. I think Roth simply wanted to show he had the superior skill. This is demonstrated at how easily he can get past Neeson's blade and inflict damage, but not sustain any in return. I think he simply thought he was better...
What makes this scene so great is not how masterful they are with their weapons (though they are) but how they're not unrealistically inhuman. They both look tired and scared, as anyone would be in this kind of fight.
Tired and scared? Archibald exhibits nothing but cockiness and over-confidence from the beginning of the duel to where he gets split into two peices. He even betrays his smugness with smiles during the fight.
@@powerdriller4124 As a matter of fact, halfway into the fight he seems to realize it's getting more difficult than he imagined. Still convinced that he should win, but unpleasantly surprised
I loved "Rob Roy"! I liked everything - the screenplay, the duel, the landscapes, the actors (I mean, Tim Roth, Liam Neeson, Jessica Lange, John Hurt, Brian Cox all together). I was literally in love with this movie, my mum bought me the videotape and it's insane how many times I watched and rewatched it! How I miss those years...
Its was never really confirmed with certainty that Cunningham was Montrose bastard son, it is possible that Cunningham was his nephew and that Cunningham's mother was Montrose's sister
I think it was suggested in the movie he was his bastard. I saw this movie like 20 years ago, but I seem to remember Montrose gave a speech about his relation with the woman on the picture.......he later removed it to keep this as a secret.Otherwise, who cares if people find out he was his nephew?
nicolashrv Montrose speech could be said for either a sister or a former lover, it doesn' dismiss the possibility of Cunningham being his nephew and as for the picture, it clear that Montrose had little liking for Cunningham and that he took the picture because he did not think Cunningham was worthy of having a picture of his sister given how he was a bastard one way or the other. Now that doesn't mean I don't agree with the theory, it's just that there isn't a very clear picture of the true origins of Cunningham and I have seen plenty of movies and tv shows mislead us with false hints or clues
Well.....for me what gives away he is his son, is the way Montrose looks dissapointed at him for being a reckless asshole. If he was his nephew, I don't see how he could put his life in jeopardy by always getting into duels.....what he will tell his family?............on the other hand if he was a bastard, is a loose end. And what's more important. If he was his nephew, then why being so secret about him? is not a shame to have a nephew. It is to have a bastard.
"Neither asked, nor given". Tim Roth's Archie Cunningham has got to be one of the most vile of villains ever to grace the big screen. My personal motto is: "A film is only as good as it's ending". With this in mind, nothing could have more been more gratifying than watching Rob "finally" put an end to Archie's evil. And there's little doubt that Archie was sent straight to perdition. This film truly delivered.
Terrible ending to a fight. Not only was it utterly stupid (Roth's character would just slide the blade through his hands into his throat, probably severing a few fingers in the process), but I saw that exact move coming from the second Neeson's character started looking tired. He was never gonna win without some unrealistic garbage like that. In reality, Neeson would be dead without having even scratched Roth.
@@KamikazeCommie501 that's not true. Blades can be grabbed, and once grabbed there's so much friction you can't do what you suggest. Study a topic before you make such claims.
I’m still amazed and I’ve seen the movie twice (though long ago). Archie’s domination of Roy was so convincing and complete that I forgot Roy grabbed Archie’s sword at the end and almost cleaved him in half. But I wonder why Archie didn’t simply pull the sword out of Roy’s hand? All I can think is that Rob Roy was bending the sword down, or gripping it with such superhuman strength that Archibald couldn’t withdraw it, like Excalibur lodged inextricably in the stone, or that it surprised Archie so much that he froze. Roth played the scene so well that forever after he became one of my favourite Hollywood “heavies” despite his stature. He reprised his role as a man capable of unexpected extreme violence in a recent Amazon Prime flick called Tin Star.
@@excellinkus Well, at the beginning of the movie during the first duel of Archibald against Guthrie (the strong guy with bad teeth), Guthrie squeezed Archibald's upper arm and mocked him that the muscles aren't developed, and he'd be better off using a musket. Perhaps this is foreshadowing the final duel, when Rob grabbed Archibald's rapier and he isn't strong enough to pull it free.
Man if this movie was made in the 2020's Rob Roy wouls have some stupid superpowers and Tim Roth would be a vampire or some shit . Long live the 90's and unforgetable movies like Rob Roy and The last of the Mohecans.....
Well said. I don't dislike the Avengers and that kind of stuff... but nothing like a good one-on-one battle, no crazy powers, no epic music, just two folks going at it. It'll come back into style.
That moment at 3:00 was so telling. That swipe and expression was like he was saying "Okay, I toyed with him at the start, but that last exchange I should've had him! Where did that energy come from?!?" was great.
Absolutely Amazing choreography, the heavy breathing, the proper techniques by actor Tim Roth; how he kept so low during his attacks, something underlooked by most who dont know anything about fighting. How in shape both of them had to be to pull this scene off. It's all incredible, and a look and how brutal things were back in the day. Dueling with SWORDS for crying out loud. Two sharpened pieces of forged steel. Dammmn.
As someone who knows nothing about sword fighting outside of RU-vid videos, this strikes me as a realistic (and high-level) fight, at least on the side of the villain. He’s clearly reading body language, looking for openings, trying to MAKE openings with feints and taunts and false openings on his own part. You can just imagine the thoughts going through his head, looking at Liam Neeson’s character like a puzzle to solve, just super professional, trying different angles of attack in a very practiced way.
This may seem weird but I always felt like Roth maybe took some inspiration from some of the more temperamental tennis players or something. There is as strange sense of sports competition about his approach almost like he is scoring points every time he cuts his opponent. The duel itself has some of the same vibe or rythm as a tennis match - quiet and intense, players attacking and defending, analysing and testing. Only the sound of exertion and the tools of the trade. Maybe the whole choreography was inspired by that. And it's extra horrifying because there is no applause or audience response, and the stakes are not points but life or death.
Well, by this point in history dueling was just as much a competitive sport as it was a means of settling disputes. There were several different well-established 'schools' or dueling styles that each had their own emphasis...honestly, the biggest difference between professional sports of the modern day and dueling in the early 18th century was that dueling had a much higher chance of killing one or more of the participants and/or bystanders. It didn't take much changing to make it an acceptable Olympic sport.
@@snoodledumpling4486 I am not making a point about the history of swordfighting. I am talking about how they dramatized the fight. This is a fight to the death, so it's not about dueling for the sport of it. There is no reason at all for someone engaged in a fight to the death, in the manner of this particular fight, to behave like they are merely participating in some sort of somewhat risky competition. And from a narrative point of view it is meaningless to import this aspect of it in the final fight. This is all about character. It is a final showdown and a meeting of particular forces. Roth comes across so much more scary because he has the confidence to execute this fight AS IF he was simply sparring or in some sort of light competition for points. It highlights the fact that he is a technically superior figther and that he is playing with his victim. Rob wins only by playing to his arrogance and his readiness to believe he is facing a simple brute. He is exploiting his vanity, which is really his only weak spot at this point. My point being that this is about drama and narrative technique, not about historicity. Stories are not histories. In this context historicity is only relevant if it can be exploited to tell the specfic story at hand.
@@NobleNemesis In all fairness I think my observation, right or wrong, is a little more particular than that. I am talking about a set of specific moves and mannerisms, and a certain choreographic style. Choreograhy is not loosely organized, it is as tight as the rest of the visual narrative and made to have a very specific effect, narrative content and simultaneously communicate character and advance the plot. They are both fencers but what I am talking about applies only Roth. So there is no random or general resemblance here, if it's there it's deliberate, and you have to ask yourself "what would be the particular, and specifically relevant narrative function of that for this particular story". Then - you mention "old ways of combat" like it is one singular object of comparison. But a boxing match does not unfold like a Tae Kwon Do match and a kendo fight does not look like a fight between medieval swordsmen and none of them look like golf or football. This is to some degree because the rules and conditions of competition are different which is again a difference from a real fight to the death, making for completely different strategies and physical expressions and forms of engagement. I'd concede that certainly there are fundamental and universal elements to melee fighting in general, but what immediately tends to come across in a visual sense are the obvious visual differences of style and aesthetic which mirror the time, place, materials, culture and fighting circumstances of their particular origin. There is a wealth of SPECIFIC INFORMATION in that. Visual narrative is made up of narrative specifics, and therefore, when done well, not concerned with summarizing the general such as "what is the same for most fights". It's about what is specific to THIS fight and it's overall character/plot function. Every moment is a potential narrative asset (and potential narrative noise if not deliberately harnessed). However - my point was actually perhaps more about Roths acting when he is NOT directly engaged in fencing. In his inbetween mannerisms and responses the situation as a whole: when he just "scored a point" when he is getting ready, when he is managing his energy or frustration. These are all non-fight movements that - as I've said reminded me a lot of some of the more temperamental tennis players, he is even doing a few signature "racket-like" swings. It is scary PRECISELY because he treats a fight to the death as a competitive match for points. I wouldn't argue that I am 100% sure that a tennis reference is what went into ROths preparations, it's just that there are specific places where thats what it looks like to me and it certainly serves the narrative purpose. But ... speaking as a sometimes screenwriter, I am 100% sure there is nothing random or accidental about what we are presented with and I am sure there is no single ancient carbon copy of what a fight looks like and how the people involved respond to the situation . What I am referring to here is quite specific, not generalised, and mainly serves to communicate key aspects of the characters and the nature of the dramatic forces that are clashing, through them and their place within, and personal take on, the culture and time in which the movie takes place, and to imply or suggest relevant backstory.
@@whynottalklikeapirat I appreciate you taking the time to defend your position regarding the tennis reference although you didn't really have to since the original comment 100% on point
"I will know who to wager on the next time ", hahaha, hope your grace will live so long". Perfect last words, had to search for a video that included that last statement.
Two different styles of sword fencing here. Cunningham was going for death by a thousand cuts, MacGregor was aiming for that one shot which would’ve finished the fight right there and then. Fascinating
The styles are not comparable. Archie´s is real professional style. MacGregor´s is good amateurism. He wins not because of style, but through a loophole in the rules. The next contests surely will get the admonitory prevention against "holding your opponent sword through any ruse or device".
Nope, he could have killed Rob Roy every time he hit him and chose to inflict a minor cut. You know a small knife can be deadly if inserted with surgical precision. Just go for the jugular. That was exactly what the arrogant nobleman was doing.
2023..I come back here time to time. Although an amature and a brut, Liam uses his noodle. So skill fails to intellect. Kinda weird I suppose. I'd go as far as irony but I'm not going to Google this early morning. Ta ta ya cunts. See ya next year
@@tomsckay7point0 You can grab a sharpened blade with your bare hands. So long as you don't draw it across your skin, it is unlikely to cut you. Grabbing blades is mentioned quite a bit in manuals of the period. You can even mordhau - hold a longsword by the blade and use the crossguard as a hammer - with your bare hands. I've actually experimented with that one myself a little bit and it does work. Though it is nerve-wracking.
That one polish sabre duel is nice and all, but this is my favorite cinema sword fight of all time. This whole shot 3:52 to 4:01 right here really is remarkable choreography, and how the tables immediately turned in the other's favor at the end of the duel was shocking.
Cunningham's own wretchedness is his own undoing. That, and misjudging Rob Roy MacGregor yet again. If we are being honest, Cunningham probably could have finished off Rob earlier with one thrust, but he has to toy with him to watch him suffer and kill him slowly. Rob's swordfighting is basically just prolonging the inevitable, even though he holds up decently. By taunting Rob at the very end, he gave him just enough leverage to turn the tables.
Frankly, Rob Roy didn't use that basket hilt as he should have. He blocked too much with the blade when he could have used the basket to block with (the entire reason for the design). He also should have attacked Cunningham's sword lower toward the hilt in an attempt to break it. Should have also used his off-hand more. And yes, I am trained in medieval fighting techniques, though it has been some time.
@@cr0we how about charging/tackling him after a parry, using his way bigger body mass ? The rules stated against using other weapons, not his own body. A sword is no good without room to swing it
@@cr0we Tim's character is obviously much faster and quicker than Rob Roy in this scene, targeting his rapier would just result in Tim evading, dodging or piercing Rob Roy.
Totally agree. Cunningham's death can only be blamed on his arrogance and stupidity. Thinking Roy was already a dead man when he was on his knees with Cunningham's blade at his throat. Fortunately I have never had to fight for my life but if I ever would have, I would make sure my enemy was deader than dead, if I had the upper hand. You know, like you have to dig out a Terminator's chip out of his robot brain to make sure he'll never rise again.
This film came out more or less same time as brave heart which took most of the viewers and accolades from Rob Roy but nonetheless Rob Roy was a brilliant film! ❤️
In fairness, Rob is still recovering from a period of brutal abuse in which Cunningham held him captive, deprived him, and beat him repeatedly over a span of days, he has his chest bound up and bandaged underneath his shirt, and he is shown to wince as he takes his jacket off before the fight, so he is definitely below full fitness or strength in this scene. The interpretation could also be taken that he is exaggerating his exhaustion to play possum and get Cunningham off-guard.
@@Heretic1981 Apologies for being a "wellakshually," but the weight of swords that size is often massively overstated. A pre-1746 basket-hilted Highland Broadsword would be around 3.5 lbs *at most,* with many being closer to 3. Granted, 3 and a half pounds is *definitely* heavy for a one-handed sword (the *largest* one-handers I've heard of are a quarter-pound shy of 4, but those were used in earlier periods) and (obviously) significantly beefier than Reggie's dueling sword, but even the largest greatswords only hit around 8 at most. A 15-lb sword is basically a fancy decoration.
@@Heretic1981 no those basket hilt claymores are about 2-3 lbs tops and pretty well balanced. But swinging ANYTHING around for intense bursts will wear someone out fast
I love how his cocky carefree smile drops wtih the wig and you see his cold calculating demeanor appear, like lifting off a mask & seeing his true face, for the first time.
the fact that 'Rob' was holding his apponents blade with the bones of his hands and fingers so tightley that 'Cunningham' could neither push through to 'Rob's' chest or pull the blade out from the grip is absolutely astonishing.
I think so too, but I must admit I've always wondered if this is even physically possible. If the sword was sharp Cunningham should have been able to move it and slice right through Rob Roy's fingers.
@@olegslapins8156 it is possible if you bend the end of the blade like he did. Look carefully. It prevents him thrusting. You can't hold it for long maybe 5 seconds..but in that time His only chance in those seconds was to pull back the blade out of his hand and strike him. However, he is so stunned and confused by the the desperate battle field move that he does not do it in time.
Uno de los finales mas intensos del cine. Uno queda con un nervio y a la vez con una sensación de placer al ver que el bueno gana, a pesar de tener todo en su contra. Muerete Archibald. Que gran actuación de ambos. Siempre le muestro este final a mis amigos que no han visto Rob Roy.
Not only one of the greatest sword fights in cinematic history, but one of the best scenes, period, in the history of cinema. Errol Flynn had many great sword fights in films such as "Robin Hood" but I do not think that they transcended mere sword fighting the way this one does into the realm of pure, human pathos. Flynn was athletic, but this is poetic. There is quite a difference.
@@stevedavis8329 Most of the audience would not know the difference, however. What counts is authenticity of feeling and the final scene of Rob Roy has it in spades.
Too bad the plot required Liam to win, because this could have been a classic David v Goliath moment...except here Goliath wins. In truth, Liam did lose this battle, and handily, but Roth was undone by his last moment of hubris, trying to finish him off in style rather than just going for the kill, allowing bad ass Liam to palm the sword and win through brute strength and grit. Either way, major kudos to all production and staging elements required to pull this one off, staging the 6'4 Neeson against the 5'7 Roth, particularly the choreographer and cinematographer. Classic scene, one of the best of its kind!
That fight area definitely favored Reggie who was able to use his superior skill and speed to his advantage. He was able to maintain distance and sometimes circle Rob to get him of balance. In a fistfight, Rob would have beaten Reggie to death in under a minute.
The only way to win in that fight was through strength. Though the basket hilt actually can be a finesse weapon if used properly. The basket itself can be used to deflect blows and uses far less strength and energy to do. He wasted a lot of energy swinging that blade around.
You know this scene is perhaps one of the greatest scenes in movie history. Even though he's an evil bastard, brilliantly played by Tim Roth, I still feel very bad for his end. So crushingly sad and brutal
And lowly. Roy technically broke the rules. But who can follow the code of honor when it means your submissive death? I guess Christians technically can....
I love this scene, but the whole movie is insanely packed with good actors who portray their characters real human beings interwoven into a wonderful story.
even when he does something like a half spin strike none of his movement is really exaggerated and his speed is almost terrifying. its like he's just dancing with a peasant for fun lol
That's the thing about fighting with these smaller swords and epees, you have a sharp piece of steel so you don't really need much power to cause nasty wounds or run it through flesh and cloth. Speed, accuracy, and precision are the determining factors vs size and stregnth bc as seen in the clip if you can't hit the opponent but they can hit you you're in trouble
Thats because he's not winding up. Usually the actors will wind up so that other non fencing people can actually see what's going on but when they don't, you'll see fast movement like these. Its a common sight in hema.
I love how you can see Cunningham's arrogance before the duel even begins. He's so cocky that he doesn't look at his sword when taking it, causing him to fumble with it for a moment.
Easily one of the best action scenes in cinema, great villainy by Tim Roth. I also thought it was incredibly poignant how Montrose took the picture of his mother, vaguely but unassuredly suggesting he was Archie's father.
@@justinholland9844 "How do you know it was his mother? I thought it might be some girl he had truly loved once" They say earlier in the movie that it's his mother. It's also hinted at when Montrose introduces Archie to Argyll, and Argyll asks if this is "another of your likely lads", meaning "probably your illegitimate son". It's also established that Archie doesn't have a father, which is part of the explanation for his terrible behavior, and why his mother would send Archie to Montrose for supervision and guidance.
It's risky, but he saw that his opponent had lowered his guard without creating the necessary distance. Losing track of the distance, even briefly, can be a deadly mistake.
A fight scene, at its heart, is not about amazing choreography or fancy moves, and certainly not shaky F#ng cam. It’s an intense conversation between two characters. Each combatant's moves should tell you abour their personality, their purpose, who they are. It's not just action, it's physical dialogue. And that’s what makes this scene so great to study.
This is one of those scenes that you see more each time you watch. Look at Rob Roy’s Sponsor’s face after Archie died . I guess he has seen it before so maybe the shock of the graphic death isn’t what gives him pause . It is that he resigned himself that Rob was going to lose but he had never seen victory snatched from the jaws of inevitable defeat like that and that stunned him .
It struck me that Rob Roy knew his opponent could out maneuver him. so he used deception. The cuts he took were something he'd be used to in fighting with claymores. He moved Roth's character into believing he won and then turned the tables. The reason I believe this is the look on Rob Roy's face and his actions in the last moment. He had that energy all along.
No, he was beaten. His anger and hatred of Cunningham gave him the burst of adrenaline to take the small opportunity he had, but Roy was all but finished. He went into the fight still recovering from his injuries, he wasn't 100%. He wasn't really fit to fight but that rage that saved him also put him into a losing fight to begin with.
I don't think Rob was bluffing. I believe he was genuinely exhausted from blood loss. But when all you have left is a move of desperation... all-in, if you will... you get an adrenalin rush. Grabbing Cunninghams blade seemed like a last attempt, an improvised last resort. Sure, afterwards, Rob seems rather fine, but I'd guess that that is just the pressure taken off his shoulders. I could be wrong though. Only the director could answer this question fully.
@@equusamans No, no. It's so silly. In the real world, Rob's opponent would have used many other techniques. One technique would be to leave his blade, and back off.
@@sammitkhandeparker8211 Probably. I think Cunningham might be the kind of arrogant guy who could be quite flustered if an opponent he thought was broken suddenly started some last effort. It seems to me that Cunningham was so sure he had Rob broken and beaten that he was taken aback. He probably thought something, like, what’s this idiot Highlander doing?! You’re supposed to let me enjoy me finishing you off.
It's interesting that Rob is more defensive in this fight. Typically, large men are shown to be very aggressive fighters, but the opposite is shown here.
As my five foot five mother used to say- “It’s the little bastards you have to watch out for.” My father said almost the same thing about Tom Cruise’s character in Collateral, a contract killer who had to have been in the military. “Five foot seven is the perfect height for Special Forces.”
If skills are more even, they should be. In swordfighting (and most hand to hand combat), reach is a big deal. If he knew better how to use his sword, he could leverage his substantial reach advantage.
This is a good example of how incredibly important stamina is in a fight. Doesn't matter what kind of fight unless it's a gun fight, but if a small guy has better stamina than a big guy, all the small guy has to do is wait it out
That also ties into technique which was the bigger factor. One of them knows how to fight efficiently and effectively with his weapon, the other less so and it shows throughout.
Another important factor is strategy. I think Rob Roy was faking how tired he was because he knew how arrogant Archibald was. As Sun Tzu said in The Art of War, “When strong, appear weak. When weak appear strong.”
I’ll never forget this scene. That final hack was brutal! When I saw that for the first time as a 12 or 13 year old kid, I was in shock. Of course, I was also glad the right guy won. It was about experience versus skill. Experience overcame skill.
Definitely, one of the most realistic sword fights ever in the movies.. Plus, an all together GREAT movie. So many profound scenes and dialogues. """ Love is but a Dung Heap , and I am but a Rooster who crawls on top of it to CROW """ At the Time , this movie should have taken ALL the awards IMHO..
It really changes your feelings about swordfights when you can say, "Alright, if my weapon is heavy enough to kill with a single blow and the other guy is trying to slowly nick me to death with fencing then I might as well grab his dainty little sword and simply out-muscle my opponent." Kinda makes you think Rob should have just tackled him from the outset and punched him to death. Probably could win a ton more duels that way and take fewer scratches.
His opponent could have killed him at any time he wanted, if he had thrust his blade into a major vein or Roy's heart. The reason he didn't was he wanted to be the fight to last longer than 15 seconds.
This scene perfectly encapsulates the difference between someone who kills for sport, and someone who kills because he has to. Don’t ever fight someone who has had to fight because they had/have to. They’re taking the fight WAY more seriously than you, and losing isn’t an option for them until they actually, definitively lose.
What played to ROB ROY'S favor was that he thought outside the box. He always came up with new ways of beating his opponents. Here he grabs ARCHIES sword and that had never happened before. At the bridge scene ROB wrapped the rope around ARCHIES neck before jumping over the side so that he would be forced to have the rope cut. That had never been done before and it worked to set ROB free.
![Rob Roy - Final Duel [HD]](/img/logo.svg){kind=logo}
