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• W333166198 abstract "NEIL JORDAN'S CONTROVERSIAL FILM of the Irish revolution and its central leader was a Gala at last year's Festival. It is a good example of the Festival's balancing act between promotional glitz and programming innovative and political films and films from national cinemas marginalized by the globalizing media conglomerates. Michael Collins is a rarity, a political subject about one of those marginalized nations, but produced by one of the globalizing Hollywood majors. It is a film that illustrates the tensions and dilemmas posed by increasing cultural globalization and the fragile state of national cinemas around the world. As well, while critics have highlighted the film's relatively explicit politics--its celebration of a revolution and its heroes, when political discourse rules out revolutions from the realm of the possible--it also shows us some of the political and historical limitations of big-budget cinema. The film's historical narrative begins with the Easter Rising of 1916 and follows the guerrilla war against the British through to the truce and the establishment of the Irish Free State. Its tragic culmination is the civil war which ensued and Collins' death at the hands of his former comrades. Generically, the film uneasily combines conventions and narrative features of both the bio-pic and the national epic. Collins is portrayed with boisterous energy by Liam Neeson as an everyman saint, humanising a Great Man of History. `The Big Fella' is, of course, bigger and louder than everyone around him, but his greatness is that of an ordinary man called on for extraordinary action. We see him on the stages of theatrical politics but also follow his touching sensitivity in the famous romantic triangle with fellow leader Harry Boland and Kitty Kiernan. He chuckles over his talent for `mayhem'--a comic evocation of Collins' legendary military brilliance and ruthlessness--but voices requisite moral anxiety over the necessity of violence. That anxiety is belied by the film's exhilarating depiction of the guerrilla terror against the British. Partly, this is celebration of the revolution, but it also reflects the film's narrowing of the political discourse to the morality and utility of violence for political aims. The moralistic focus on the violence of revolutionaries tends to underplay the centuries of systemic colonial violence and offers itself as a narrow intervention into the contemporary impasse of IRA terror and continuing British occupation. More broadly, it reflects the film's final focus, despite the romanticization of the revolution's heroes, on the revolution's tortuous detour. While the film's trajectory, as in many bio-pics, is to a hagiographic martyrdom, Collins' sacrifice consecrates the failure of the revolution. Thom Anderson's superb discussion, Red Hollywood, recounts the studio blacklist in the 40s and 50s and examines the limits and strategies of leftist filmmaking within corporate culture.1 He quotes Robin Blackburn's comment that sociology only begins to understand modern revolutions in so far as they fail to argue that bourgeois cinema similarly prefers to sentimentalise and romanticize revolutionary defeat. This holds true for countless swashbucklers--for example, The Scarlet Pimpernel--played out against counterrevolutionary restoration in England or France, and for more progressive films, like Viva Zapata! or Burn! Michael Collins is in this lineage. Collins becomes a hero as much for being devoured by the revolution as for his achievements. The film's explanation for failure, and all its emotional energy, are entirely within nationalism. Jordan obviously feels he is making a nationalist epic, despite his contradictory views of the revolution, a tale of national hopes and tragedy that can speak to contemporary conflicts. Cinematically, this is signalled by the attention to historical veracity, the spectacular recreation of famous battles, the loving detail in period costume, language and performance. …" @default.
• W333166198 created "2016-06-24" @default.
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• W333166198 date "1997-02-01" @default.
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• W333166198 title "Revolutions That Fail: Michael Collins" @default.
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