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Digging assist into their roots, director Neil Jordan and actor Liam Neeson have respectively delivered their most memorable and deep-cutting works to date. Michael Collins has nagging flaws, but in the sweep of the passionate filmmaking and performances, all else is moot. You will be carried forth by the conviction of the myth.
Neeson was simply born to play this role. An actor of expansive power, Neeson is here given a role that’s multi-dimensional enough for him to reveal his formidable chops. The Michael Collins character is alternately a boyish, dashing ladykiller and a tactician with a steel will, and fair watching Neeson tackle the character’s inner and outer demons is worth the tag of the movie. He indeed projects the power and charisma of a astronomical leader in his “our refusal” speech. There’s more — Aidan Quinn gives his best performance as friend-turned-enemy Harry Boland; Alan Rickman utilizes his deadpan comical timing and hidden deviance to perfection as Eamon de Valera; Stephen Rea is spacious as usual as English traitor Ned Broy. The one primitive link is of course Julia Roberts, as Harry and Mick’s care for interest Kitty, with her abominable Irish accent and vacant presence. She’s troubled by the scope of the historical drama and comes off stiff as a result, injecting the character with neither warmth nor power, and none of her signature girlish exuberance. However, this was one case where the filmmaker’s sacrifice of a character was to the assist of the film. In directing the film, Jordan sliced down Kitty’s importance and makes her mostly a footnote; the result is that we are now free to elaborate Mick and Harry’s split as a philosophical and political one, rather than the ol’ romantic triangle. And for the better.
The cinematography is terrific, and the script ranks among my favourite of the ’90s. Jordan is deeply tapped into the behaviour and concerns of these characters, and he fills every miniature with humour, worry, urgency, and personality. The writing translates onto the mask beautifully, giving the audience an insight into not only the sociological scape of the film, but also the psychological. And the pacing and editing never let up — from the perfectly chosen “in medias res” opening to the vivid “Bloody Sunday” assassination montage.
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A expansive neglected classic.
What a shame that whenever this film is mentioned nowadays, it’s almost always referred to as a Julia Roberts flop. It’s actually scarcely a Julia Roberts film at all. Her role is quite minor-and it’s commendable that she took it on, really, since she was already a star. I glean she was looking for serious roles in meaty films in an anguish to beef up her acting credentials.
And this certainly was a meaty film. It is, in fact, a grand, worthy better film than I had ever imagined from the reviews of the time. I only regret never having seen it on the sizable shroud, because its yarn sweep and blooming cinematography would have been all the more impressive.
Americans, including Irish-Americans like myself, have only the vaguest notions of Irish history. We learn the basics in school, and probably, most educated Americans have an conception of approximately when and how the Irish Republic was established. We may also know that six counties in the North remained under British rule and are peaceful section of the UK (at least, I hope we do–after 30 years of reports on the “troubles”) .
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“Michael Collins” goes some distance toward filling in those informational gaps. I am aware that many critics have challenged writer/director Neil Jordan’s interpretation of Irish history (in particular his making Eamon De Valera, the President of the Irish Republic, something of a villain) . To that, one can only reply that historical dramas are by definition an interpretation of history. I peep that a few of the reviewers below have mentioned that this film inspired them to study out more information about Irish history. Those of us that do will eventually score a more balanced belief, perhaps. It was not Neil Jordan’s job to provide us with that perspective. His job as an artist was to reveal as entertaining a narrative as he could. On that secure, he has succeeded very well indeed.
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