“Michael Collins,” the 1996 biopic starring Liam Neeson and “The Wind the Shakes the Barley,” from 2006 are perfect complementary films on Irish oppression. When Ireland was divided into two countries — the ‘free state’ and Northern Ireland — Britain achieved its goal of polarization and division. “Barley” showed more empathy for the Irish Republican Army after Collins’ actions, whereas “Michael Collins” shows more empathy for the Free Staters. But both build a solid picture of English oppression, Irish resilience, and the tragedies that lined both. That Neeson — as Collins — doesn’t own this film but plays alongside it is one of its major strengths.
“Collins” professes to be a biopic, and in that it succeeds — kind of. We’re introduced to Michael Collins (Neeson) at the film’s beginning at the ‘Easter Rising,’ the latest in Ireland’s then-hopeless campaigns at revolution. The Irish are defeated by the British easily; it’s a miracle that Michael Collins — along with Harry Boland (Aidan Quinn) — aren’t killed at the following executions. They don’t deem Collins’ a ring-leader. Maybe the should have. But no one saw the leader he would become, who would re-imagine revolution for the coming future.
A Violent Yet Saddening Film
Where “Michael Collins” shines is in showing the para-military tactics — namely guerrilla warfare — that would set Collins apart from other, failed attempts. He makes an early contact from the Dublin Castle (Stephen Rea) who would give him the advantage. After a clandestine theft of Castle files, Collins begins strategic hits on high-ranking officials to dampen the ability for England to gather spy-fed intelligence. Where military incursions failed, his IRA executes officials quickly and surreptitiously, then disappear into the crowd. All around them the dress of the times — namely men’ suits and elegance — quiet the violence where a military uniform would have highlighted it.
The film — directed and written by Neal Jordan (himself born in Sligo, Ireland) — certainly looks the part. If it falls, slightly, it’s in its ambitious script and terse pacing. The film, at 2 hours and 13 minutes, introduces Collins almost immediately as a force to be reckoned with, and doesn’t take the time to build him from a shadow to a hero. Collins’ importance to the rebellion is earlier hinted at by Eamon de Valera (Alan Rickman), but not spelled out. Collins’ friendship with Boland is, even as the film introduces a love interest, Kitty (Julia Roberts), who comes between them. They vie for her affection; but what I gathered from these scenes is the divide Boland and Collins would become victim of, as the former championed the Irish Republic and the latter wanted peace and supported an Irish free state.
Some Thin Development Harms ‘Collins’
There’s also the issue that Jordan’s screenplay doesn’t take the pains it should to show the utter brutality of the English. Of course some (like Rea’s Ned Broy) don’t fare too well, but the film lacks the barbarism of Ken Loach’s “Barley” and assumes — sometimes wrongly — that the audience will know the history of England’s oppression against the Irish. We see shootings and executions, but not what led up to them. And Jordan sandwiches this against great set pieces, but actors who seem in a hurry to get where they’re going. Rickman’s de Valera — as Robert Ebert suggested — is inserted into this narrative as the necessary ‘Irish villain.’
Julia Roberts, Liam Neeson, and Aidan Quinn in “Michael Collins.” (Photo: Warner Bros.).
But that’s not the whole truth. If we learned one thing from “The Wind that Shakes the Barely” — or history — it’s that these things are never simple. We’re dealing with personalities that want the same thing — a free Ireland — but have different visions of how to get there. The fact that de Valera eulogized Collins later in life shows he may have seen his missteps. But what Jordan’s film sidesteps mostly is that England caused these hardships. Ireland’s reaction to oppression is not the greater story, but one twisted to political ends.
An Important Film, Nonetheless
But all that aside, “Michael Collins” is a strong film. Neeson — 3 years off of the timeless “Schindler’s List” — still has that charisma that made that film a success, but here looks the part of Collins through and through. His mannerisms, his not overly-Irish accent, even his hair weave… he looks the part of the reluctant patriot, and looks equally heartbroken over his slow division with del Valera, Bolond, etc. One scene stuck out: as he chastises a group for executing a free stater — their enemy in their eyes. “He was one of US,” he shouts. He’s not wrong. Collins reached a point where he wanted to avoid war, and wisely knew that England was pitting them against each other.
The rest of the players, from Quinn, to Rickman, to Roberts (as well as a host of characters such as “Game of Thrones’” Charles Dance and Irish regular Brendan Gleeson) make the film memorable. Jordan’s Dublin strikes as a place to remember, and I don’t doubt that James Joyce would have been proud. Its hallmarks of elegance (pinstripe suits, top hats, and pocket watches — often rode atop leisure bicycles) hammer home the time period of a simpler time in a way that is interrupted and prostituted by violence all too well. You can imagine a simpler existence where pints at the pub and fiddle songs lined Irish history rather than bloodshed and moral trials.
Watch Alongside ‘The Wind that Shakes the Barley’ for a Full Perspective
But “Michael Collins” is a solid movie. It’s enthralling, which it needs to be, and sad, which it ought. Neeson leads a film that dabbles in reluctance, and Jordan paves the road in shadows, dreariness, and hope. It earned rightful Oscar nominations in cinematography and score, and ends the way history foretold. The film is currently on Amazon Prime. Watch this alongside “Barley” for a survey on Irish history, and a masterclass on empathy of both sides — and how Ireland — as Collins narrates — was forced to hate, and hated for that demand. The film makes you regretful for the past and at once understanding, which undoes the film’s mistakes and leaves you with a dolor that is palpable. A solid film not to be missed.
“Michael Collins” is available to rent on Amazon Prime and other networks.
