Wire report
Mort à la révolution! Why UK film loves a failed rebellion
Paul Greengrass’s Peasants’ Revolt epic, The Uprising, is just the latest in a long line of movies depicting an unsuccessful attempt at remaking the nation The British are perverse. We fetishise our failures, even if they are essentially tangential to a national narrative that should be about imperial conquest, slavery and being unremittingly unpleasant to foreigners. We tell and retell, for instance, the story of Captain Scott even though he died in Antarctica in 1912 after losing the race to reach the south pole first to the unacceptably Norwegian Roald Amundsen. Similarly, Christopher Nolan’s 2017 film Dunkirk typified the British tendency to snatch national glory from the jaws of defeat. And then there was the tragicomic disaster of the Charge of the Light Brigade during the 1853-56 Crimean war in which our boys raced to putatively glorious if stupid deaths. It’s as if, for us Britis
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Paul Greengrass’s Peasants’ Revolt epic, The Uprising, is just the latest in a long line of movies depicting an unsuccessful attempt at remaking the nation The British are perverse. We fetishise our failures, even if they are essentially tangential to a national narrative that should be about imperial conquest, slavery and being unremittingly unpleasant to foreigners. We tell and retell, for instance, the story of Captain Scott even though he died in Antarctica in 1912 after losing the race to reach the south pole first to the unacceptably Norwegian Roald Amundsen. Similarly, Christopher Nolan’s 2017 film Dunkirk typified the British tendency to snatch national glory from the jaws of defeat. And then there was the tragicomic disaster of the Charge of the Light Brigade during the 1853-56 Crimean war in which our boys raced to putatively glorious if stupid deaths. It’s as if, for us Britis
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According to The Guardian’s source item, Mort à la révolution! Why UK film loves a failed rebellion, Paul Greengrass’s Peasants’ Revolt epic, The Uprising, is just the latest in a long line of movies depicting an unsuccessful attempt at remaking the nation The British are perverse. We fetishise our failures, even if they are essentially tangential to a national narrative that should be about imperial conquest, slavery and being unremittingly unpleasant to foreigners. We tell and retell, for instance, the story of Captain Scott even though he died in Antarctica in 1912 after losing the race to reach the south pole first to the unacceptably Norwegian Roald Amundsen. Similarly, Christopher Nolan’s 2017 film Dunkirk typified the British tendency to snatch national glory from the jaws of defeat. And then there was the tragicomic disaster of the Charge of the Light Brigade during the 1853-56 Crimean war in which our boys raced to putatively glorious if stupid deaths. It’s as if, for us Britis
Context
The development sits in VINI’s Technology file for readers following technology, science, product policy, markets, infrastructure, and the public consequences of innovation. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The source item is dated 2026-10-12T11:14:33+00:00.
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Primary source: Mort à la révolution! Why UK film loves a failed rebellion via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Mort à la révolution! Why UK film loves a failed rebellionThe Guardian - 2026-10-12T11:14:33+00:00
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