节奏

Paul Greengrass’s Peasants’ Revolt epic, The Uprising, is just the latest in a long line of movies depicting an unsuccessful attempt at remaking the nation

The British are perverse. We fetishise our failures, even if they are essentially tangential to a national narrative that should be about imperial conquest, slavery and being unremittingly unpleasant to foreigners. We tell and retell, for instance, the story of Captain Scott even though he died in Antarctica in 1912 after losing the race to reach the south pole first to the unacceptably Norwegian Roald Amundsen. Similarly, Christopher Nolan’s 2017 film Dunkirk typified the British tendency to snatch national glory from the jaws of defeat. And then there was the tragicomic disaster of the Charge of the Light Brigade during the 1853-56 Crimean war in which our boys raced to putatively glorious if stupid deaths. It’s as if, for us British, pointless sacrifice and embracing failure are what heroism means. And our cinema has colluded with this perversity.

But there is an exception to this national veneration of failure. Britain has been reluctant to embrace its revolutionary defeats. There is, for instance, no film dealing with the Chartist movement’s 19th-century struggle for universal suffrage. Even more strikingly yet, it is only now, in 2026, that a film has been made about the calamitous 1381 Peasants’ Revolt, even though it is a pivotal event in British history. Paul Greengrass’s The Uprising, starring Andrew Garfield as a – let’s just get this over with – revolting peasant, joins a mere handful of other movies, including Kevin Brownlow and Andrew Mollo’s 1975 Winstanley, Bill Douglas’s 1986 Comrades and Mike Leigh’s 2018 Peterloo, that dare depict how radical collective action was crushed by a ruthless state.

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