There’s been a reboot of Russell Mulcahy’s film in the works for over a decade now; how hard can it be to revamp such an appealing property as Highlander? Five sequels, a tv show and many a rain-soaked holiday in Scotland has been inspired by this wonderfully daft bit of world-building. Highlander is a great-looking, funny and often dazzling fusion of The Terminator with sword and sorcery; if it seemed indigestible to critics in 1986, perhaps the time has come to embrace the story of Connor Macleod. Certainly, letting the John Wick’s Chad Stahelski loose on the Lionsgate property seems like a good idea, since when it comes to great Highlander movies, it would be a real shame if there could be only one.
‘I am Connor MacLeod of the Clan MacLeod. I was born in 1538 in the village of Glenfinnan on the shores of Loch Shiel. And I am immortal…’ is the line that introduces our hero, played by Christopher Lambert after Mel Gibson turned the role down. Lambert was, and still is, something of a dude’s dude; his shock-haired turn as the evasive thief in Subway built his reputation as an unpredictable but charismatic leading man. Lambert’s French accent was widely mocked, but there’s always been a close historical connection between France and Scotland via the Auld Alliance, so that mis-step could be forgiven, even if Macleod’s inability to pronounce Glenmorangie seems like a genuine gaffe.
Macleod is an Immortal, doomed to walk the earth listening to a Queen soundtrack, brooding in an awesome New York apartment, watching wrestling matches and heeding the advice of his foppish mentor, Egyptian metallurgist Ramierz (Sean Connery). A reckoning, a quickening, a happening, whatever it is, something nasty is a-coming and it’s likely to take the form of bad boy The Kurgan, played by the perennially awesome Clancy Brown.
The European cut has some key scenes for the Highlander universe; during WWII, he rescues a little girl from a Nazi and casually machine-guns him to death with the line ‘Whatever you say, Jack, you’re the master race.’ This is a striking, irreverent and surprisingly brutal throwaway scene that opens up a potentially interesting world. If the Highlander is immortal, then he’s an old soul with a uniquely educated and evolved historical perspective, and his instant recognition of the Nazi foe is delightfully fleet and sour at the same time. More such flashbacks would be welcome, although training and soul-searching are centre-stage, this being the 80’s and all.
As with the John Wick films, the first in the series offers an imaginative springboard that the later films can only limit in terms of choices. The second Highlander film killed the idea stone dead by positioning Macleod as an alien. But Gregory Widen’s script taps into specific Scottish folklore with regards to magic and immortality, and there’s every reason to think that a reboot could boil down the existential philosophy of the Highlander films to an organic, granular level. There’s a reason why Scotland punches above its weight in terms of talent, in terms of acting, writing and ideas, and that eternal struggle finds one of its most entertaining manifestations in this gloriously deadpan fantasy epic.