This week marks the 100th anniversary of the world-historic Easter Rising in Ireland. And, here in the United States, we’re getting quite an education—first, with 1916 The Irish Rebellion, a big, lavishly produced slab of prestige television (with none other than Liam Neeson as the narrator), available on 120 television stations in the United States and on the BBC; then, on Sundance, with Rebellion, a soap-operaish version of the same events; and, finally, A Full Life: James Connolly the Irish Rebel, a graphic remembrance of socialist agitator, editor, and author Connolly illustrated by artist Tom Keough.*
I’ve only seen the two television series, so I can’t comment on Keough’s book.
In my view, 1916 The Irish Rebellion does an excellent job of providing the necessary background (at least for those of us lacking the basic, Irish secondary-school-book knowledge of the events—although it tends to exaggerate the U.S. connection (highlighted in the trailer) and to downplay the egalitarian and socialist impulses in the Rising’s anti-imperialism (which, I presume, the Connolly book serves to correct). And while Rebellion is more an intimate recreation than a documentary (and does take historical liberties and shortcuts in dramatizing, I would say melodramatizing, the events), it does highlight the role of women among the forces for and against Irish independence.
Still, both television series serve to shine a spotlight on the short-lived and ultimately failed rebellion that showed to the rest of Ireland (beyond Dublin), the British Empire (for which this was the beginning of the end), and the rest of the world (in a wide variety of socialist, communist, and national-liberation movements) that the dream of making and changing history was embodied by and yet could not be contained within the “terrible beauty” of 1916.**
*Here’s the appropriate disclaimer: while 1916 The Irish Rebellion was largely financed by the University of Notre Dame and written by Notre Dame professor Bríona Nic Dhiarmada, I played no role in the creation or dissemination of the documentary.
**It is precisely that terrible beauty that is taken up in Ken Loach’s film, Jimmy’s Hall, which takes place in 1932 and focuses on the post-1916 political tensions among the Catholic church, the state, the landowners, and the republican movement.