Courting controversy

At the time of the film’s release, Gibson, who had already been heavily criticised for his views on homosexuality in a 1991 interview, was again accused of homophobia for the portrayal of Edward II.

In the film, Edward Prince of Wales is depicted as an effeminate homosexual, though historians strongly dispute he was gay or bi-sexual, noting that he went on to father at least five children.

The scene where Edward I threw his son's lover out of a castle window was particularly criticised for inciting homophobia.

The lover was based on Piers Gaveston, allegedly involved with Edward II, although he was also married. Many historians believe the rumours  were invented by the King's enemies in order to discredit him.

Gibson refused to apologize for the controversy in a 1995 interview with Playboy magazine while promoting the movie. However, he did agree to host a summit for gay rights organization GLAAD.

Although he didn’t apologize for the film's alleged homophobia, Gibson did express regret over his controversial 1991 interview, claiming that his words had frequently been used to criticise him.

When the film premiered in the UK, the first reaction of the English newspapers was to pick up on what The Guardian stated was “a toxic Anglophobia."

Similarly, Scottish writer Colin MacArthur, author of Brigadoon, Braveheart and the Scots: Distortions of Scotland in Hollywood Cinema calls it "an atrocious film".

He also writes that a worrying aspect of the film is its appeal to 'neo-fascist groups'. This seems to be supported by the supposed use of the film by groups such as the KKK to promote fundamentalist beliefs.

“You've got no control over what happens to a lot of stuff once it’s out the gate. Hopefully it gets used in a good way or it inspires in a good way, but I'm glad I'm not my brother’s keeper,” says Gibson.

His tone is understandably defensive, yet alarmed that his film may be being repurposed for such reasons.

The story of Braveheart doesn’t end on a low note, however, as the legacy of the film extends far beyond the extreme few, all the way to the terraces.

Next: A film for all seasons