Written and directed by Paul Greengrass, The Uprising is yet another film that uses real historical events as modern allegory. The elites enriching their fortunes from a population unable to stop them is a tale as old as the dawn of humanity. Almost every cinematic genre tries to parallel today’s politics into their respective narratives. While this is commendable, the “new car smell” has long worn off. Greengrass’s latest has moments, but falls short of surface-level interest while the director’s signature style hurts the final product.
This is the second revisionist telling of a famous literary tale this year. June gave us the redundant and unnecessary The Death of Robin Hood. Now comes a story based on the Peasants’ Revolt of 1381. This violent rebellion was born from imposition of the poll tax of 1380, which caused widespread economic ruin amongst the population. Rebels stormed the Tower of London; capturing and beheading many of the high-ranking advisors to the country’s 14 year old king, Richard II.
The Uprising isn’t short on sincerity, but Greengrass’s desire to link our current political upheaval to such an event lacks subtlety. The most blatant example of the screenplay’s overreach is when the slimy Treasurer Hales (the great Tom Hollander) refers to the king’s subjects as “deplorables.” The line (as written and delivered) reeks of desperation.
Andrew Garfield is a fine actor. His work in the FX miniseries, Under the Banner of Heaven, along with powerful performances in Mel Gibson’s Hacksaw Ridge, Martin Scorsese’s Silence, and Lin-Manuel Miranda’s tick, tick… BOOM! are proof of Garfield’s dedication and versatility. The Uprising sees him as Ploughman, a suffering farmer who lost his wife and children to the Black Death. The character lives in a constant state of mourning that disconnects him from life and purpose. Garfield has always done well with stoicism and, in the film’s opening moments, conveys his character’s desecrated heart through a quiet intensity. Unfortunately, as the film progresses, it becomes clear that Garfield might be miscast.
The fault should not lie at the feet of the film’s star. Andrew Garfield is an actor who works hard when inhabiting a character and is one of the most interesting performers of his generation. The manner in which Paul Greengrass has designed Ploughman is too aloof and internal. Such lack of depth causes Garfield to appear lost. Be it the screenplay’s inability to dig deeper development or the director crafting this work as he would a Jason Bourne movie, Andrew Garfield seems to be unable to find the map to Ploughman’s soul. In turn, the audience is only rooting for him because he is crafted as the hero.
When King George II (Woody Norman) sends his collector to impose larger taxes on the village, the widowed farmer is pushed beyond his limits. Ploughman witnesses the collector’s cold disconnect regarding the subjects’ well-being and is disgusted by the brutal public rape of women by the king’s soldiers. Using his scythe, Ploughman kills some of the royal thugs. This act leads to a rebellion.
Greengrass gets sloppy in his handling of the events that follow, as the instant legend of Ploughman’s actions spread across the land and eyes are open to others who share his defiant spirit.
A priest who was branded a heretic by the king’s advisors, John Ball (Jamie Bell), introduces Ploughman to Wat Tyler (Cosmo Jarvis, in the film’s best performance) a proper leader who just wants what is right and just.
The debilitatingly under-written script takes no chances and robs the viewer of any emotional connection. Each new face (Thomasin McKenzie’s Alyce) is thrown in without explanation. We know these men and women will band together, but Greengrass refuses to give them dimension. A priest, a warrior, and a determined rebel fighter are the surface level descriptions for Bell, Jarvis, and McKenzie’s characters. There is no depth to their design. This is a good trio of actors and they certainly try, but Greengrass doesn’t give them a lot to work with. Bell yells while Jarvis commands. Thomasin McKenzie’s role feels like an afterthought.
The commitment of the actors is constantly betrayed by the film’s ever-changing tone.
The Uprising begins as a dark mood piece somewhat grounded by the director’s trademark realism. Once the titular revolution begins, the film’s parables are set in motion, as it lays the foundations for a historical mini-epic. Moving closer to the finale, Greengrass gives us “action flick” moments shot like one of his Bourne entries. Good or bad, all of the picture’s fighting sequences are rendered completely incomprehensible by the filmmaker’s shaky-cam execution. Greengrass’s pseudo-verité stylings have no place in a film of this caliber.
Eventually, the film’s tonal and visual handicaps render the film ponderous, as does the over reliance on slow motion scenes of the rebellious crowds yelling into the camera. There is such an over abundance of determined faces with fire in their eyes as they expel screams of rebellion that it becomes comical.
Once the film reaches its conclusion, Greengrass adds a final “One Year Later” coda that feels tacked on; kowtowing to an audience that expected a different experience.
Due to Hollywood’s inability to keep plot points secret, this final moment could have been a surprise. Sadly, any fun to be had with the reveal has already been spoiled by the studio’s publicity campaign.
The emotionally vacant screenplay is the true villain and, for this particular story, Paul Greengrass proved himself the wrong choice to direct.
The Uprising should have been special. Paul Greengrass has done some good work and the cast is full of top-tier British talent. The true tale is one of power and emotion. The stage was set for something unique and rousing. In a modern cinema world where historical stories are met with disinterest, this picture could have been a diamond in the rough.
Sadly, nothing shines
The Uprising
Writer & Director Paul Greengrass
Cast Andrew Garfield, Jamie Bell, Stephen Dillane, Tom Hollander, Cosmo Jarvis, Thomasin McKenzie, Jonny Lee Miller, Woody Norman, Katherine Waterston
R, 127 Minutes, Focus Features
