Michael Collins


Action / Biography / Drama / Thriller / War


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March 01, 2016 at 04:37 AM



Julia Roberts as Kitty Kiernan
Liam Neeson as Michael Collins
Alan Rickman as Eamon de Valera
Jonathan Rhys Meyers as Collins' Assassin
720p 1080p
965.18 MB
23.976 fps
2hr 13 min
P/S 2 / 19
2.01 GB
23.976 fps
2hr 13 min
P/S 9 / 15

Movie Reviews

Reviewed by ccthemovieman-1 7 / 10

Beautiful Cinematography Highlight This Biography

I didn't know if Hollywood was distorting history but someone who knows the story of Michael Collins assured me this was a pretty accurate portrayal of him in here, which makes this film go even higher in my ratings, because it's definitely entertaining and is spectacularly photographed. There is more blue color in here - beautiful blue - than in any movie I've ever seen. It looks just gorgeous on DVD.

Liam Neeson's charismatic portrayal of Collins keeps you riveted to the screen, even though it's a fairly long movie. Julia Roberts and Alan Rickman seemed a bit miscast. Being American and British, respectively, they weren't quite believable as Irishmen, perhaps because I'm used to hearing them as they normally talk. I also don't like to hear the Lord's name in vain so often as what was in here, but that seems commonplace among the Irish, at least in all the movies I've seen and books I've read (and my relatives, half of whom are Irish!)

Anyway, this is a very interesting story with a nice combination of drama, action and romance. Very much recommended regardless of anyone's stance on Irish-English relations.

Reviewed by MrVibrating 10 / 10

A great movie

This movie is an excellent portrayal of the brutal and often non-conventional Irish freedom struggle. The movie has several great strengths. The biggest strength is Liam Neeson in his tour-de-force. His acting in this movie is as good as it gets. His personality changes subtly throughout the movie, becoming increasingly affected by the changes of the world around him. The supporting cast is also excellent, with Rickman in one of his best roles.

Cinematography is very nice, capturing everything from the hopelessness of the defeats in the ashy cities to the beauty of the Irish landscapes. The pacing is very good as well.

If you saw this movie with no opinion on the Irish history, you will have one when you leave the theater. This shows to me how powerful this movie is. After all, Michael Collin's tactics were not pretty, everything from car-bombings to mob-style executions. Yet we still care for him, we want him to succeed, even if he himself isn't sure he wants to.

Without it's politics, this movie is still excellent. It's a great piece of movie-making, it's involving, sad, funny and sometimes tense. One of the movies I consider classic.

Reviewed by Turfseer 6 / 10

Effective recapitulation of Irish struggle for independence but British point of view is sorely lacking

Director Neil Jordan was at the height of his fame following his great success with "The Crying Game" when he was finally able to convince film investors to fund "Michael Collins," a project which was 10 years in the making. I knew little about the history of the struggle for Irish independence but after seeing this film, it propelled me to do a little research. As a history lesson Michael Collins does well in covering the main historical points but Jordan does little in presenting the British point of view.

The film begins with the Easter Rising of 1916, a violent protest in Dublin which resulted in the defeat and arrest of the leaders amongst the Irish rebels. What Jordan doesn't let on here is that the rebellion was not at all popular with the Irish people and the tide didn't turn until the British executed the majority of the rebels following the rebellion.

Liam Neeson does well in playing Collins as a dynamic, strong character but Collins was around thirty when the events of the film takes place and Neeson was about 14 years older. If you're willing to forgive the age difference, Neeson is quite believable as the fiery Irish leader who is still regarded as a George Washington figure amongst the contemporary Irish populace.

Jordan is at his best when he dispassionately regurgitates the sequence of events that led to the establishment of Ireland as a free state and the resulting civil war. Of particular note are the gripping scenes of escalating violence: Collins is a beaten by the Royal Irish Constabulary after speaking at an election rally; Collins recruits a squad of killers who murder 14 members of the MI5 "Cairo Gang" and the ensuing act of genocidal revenge taken by the "Black and Tans" paramilitary force at a soccer match; the IRA attack on the Custom House which Collins opposed as he knew the British would easily win; the attack on Collins after the treaty with the British, at an anti-Treaty Republican rally; the offensive against the "The Four Courts" by the anti-Treaty side of the IRA, despite Collins' bitter opposition; and the ambush of Collins, resulting in his death.

Also of great interest is the conflict between Collins and Eamon de Valera (played by an effective Alan Rickam) who early on felt that Collins was acting on his own. The actual split between the two leaders is foreshadowed when de Valera goes to meet President Woodrow Wilson in order to gain recognition of the IRA's objectives and takes Collins' best friend and constant companion, Harry Boland, with him. Eventually de Valera orders Collins to negotiate the treaty with the British over his objections that he's not a diplomat. And it was de Valera who split with Collins over the terms of the treaty which broke Ireland into two and still had the new Irish Free State swearing allegiance to the Crown.

What's most fascinating about Collins is that initially he was regarded as a terrorist by the British but after negotiating the treaty between Ireland and the UK, he was now regarded as a "moderate." In fact, during the Irish civil war, the British supplied arms to Collins' forces who eventually defeated the anti-Treaty faction. Jordan argues that Collins' targets were either brutal forces of the British intelligence service or Irish collaborators, not innocent civilians. Whatever the case, Collins, who was yesterday's terrorist now became today's dignified statesman.

Jordan unfortunately leaves out the British side of the story. Instead, they're all evil or supporters of evil. Jordan is not adverse to twisting historical facts to make the British seem worse. The scene of the massacre at the soccer match is exaggerated—no armored vehicle entered the premises and machine gunned people in the stands. A British Court of Inquiry found that the actions of the paramilitary group "was carried out without orders and exceeded the demands of the situation." The commander of the Dublin District stated that "the firing on the crowd was carried out without orders, was indiscriminate, and unjustifiable, with the exception of any shooting which took place inside the enclosure." Nonetheless it was also true that this inquiry was suppressed by the British government. The King of England and some British politicians expressed their horror at the Bloody Sunday massacre and such a public relations disaster did much to strengthen the hand of de Valera's government, eventually leading to the peace treaty between Ireland and England.

The killing of the double agent Irish detective who aided Collins, Ned Broy, also appeared to be designed by Jordan to manipulate the audience into hating the British even more. Broy is actually a composite character of three people. While people were tortured by the British (particularly those who were involved in the assassinations of British intelligence agents on Bloody Sunday), Broy lived well into his 80s.

Jordan's decision to take a few liberties with historical events and characters doesn't seem so bad in light of his overall success in depicting the chronology of events in the Irish fight for independence and its aftermath. Nonetheless, aside from Collins (and perhaps de Valera) most of the other characters in the drama are unremarkable and certainly Julia Roberts has little to do as the love interest between Collins and sideman Boland.

While necessary, after a while, many of the violent goings on in Michael Collins, felt more like a docudrama. Only when the conflict between de Valera and Collins heats up, can one say that the narrative becomes truly compelling. Again what's missing is the British point of view (and perhaps a singular antagonist) which could have added to the efficaciousness of this well staged period piece.

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