Sound like John Wayne, perhaps? Or a modern version of the Sitting Bull story? Try both. Indeed, the genius of these films is that they turn political correctness upside-down to work for a whole lot of those previously targeted. In Rob Roy and Braveheart, white male stars get to play the cowboys and the Indiansright down to the war paint. What’s more, nobody’s complaining! Welcome to the New Western, Medieval-style.

Set in Scotland 500 years apart, both films feature the same enemy:the cartoonishly cunning and ruthless English, fops, rapists and plunderers all, and the greedy Scottish noblemen in cahoots. Both feature bands of simple, prosaic and honor-bound men in nontraditional attire. Both leaders’ wives are violated by English troops, fueling hatred and igniting rebellion. Both men exact vengeance:McGregor through heroic swordsmanship (and acceptance of the resulting child-to-be); Wallace through a dramatically gratifying if improbable fancy about his short but passionate romance with the king of England’s daughter-in-lawassuring a Scottish element to the future crown.

Why these Celtic historical action films all of a sudden? Why the soon-to-be-released First Knightyet another retelling of the (Celtic) King Arthur legend? We may have minority filmmakers partly to thankprimarily those young African American directors whose films are born of righteous indignation. As they’ve done throughout American historyfor example, in music and sports they’ve clearly influenced their white counterparts, particularly those of oppressed peoples, in this case, the Celts.

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This may be an unconscious reaction. Or it may be the result of positive influenceRob Roy director Michael Caton-Jones, a Scotsman, says the film is a way for him to get back to his roots.

Besides, if you had the choice of seeing one of these movies, or one starring Michele Pfeiffer as an ex-Marine trying to reach bright but problem children at an inner-city high school, which would you choose? Reality isn’t a lot of fun these days; it’s difficult, confusing, guilt-ridden. Who needs this, says Hollywood, we’ve got history on our side.

No blacks or browns or yellowsave for one English king’s African servant boy, a not-so-subtle pointer for those viewers who aren’t quite sure who the bad guys are. No race, no controversies. Just historical animosity. Audiences of all stripes can sit back, relax and revel in the romance, the bloodshed, the hatredbecause it’s all white.

Sure, the English are painted only vile, but are they going to complain? Nah, they’ll take it on the chin, politely. You know, stiff upper lip, good manners and all. The English are the last good bad guys.