The Uprising is a 2026 action film written, produced, and directed by Paul Greenglass and starring Andrew Garfield as the "Ploughman." It is a cinematic dramatization of the 1381 English "Peasants' Revolt" (historically more accurately termed "Wat Tyler's Rebellion") which occurred in the aftermath of the Bubonic Plague ("the Black Death") that had killed off half the country's population, starting in June 1348. The violent events of 1381 have long been considered a major crisis moment in English history.
In 1381, England's king was the 14-year-old Richard II, too young to rule on his own, although he did in fact play a prominent part in the rebellion's actual events. In the film he (Woody Norman) is haunted by terrifying nightmares, which in some sense reflect the haunting of the entire realm in the aftermath of the plague (referred to in the film as "the sickness"). He has an ambivalent relationship with his aristocratic council, which governs in his name, as does his mother, Joan of Kent (Katherine Waterston). Meanwhile, in addition to the economic dislocations caused by the plague, England is engaged in the Hundred Years' War (1337-1453) with France and desperately needs more revenue, requiring an increase in taxes. Unable politically to tax the Church or the rising merchant class in London, the royal council (composed apparently of nobles and bishops) increases taxes on the peasants, who complain to the local tax collector that they can no longer survive if they have to pay higher taxes.
Enter a "Ploughman" (Andrew Garfield), a widowed farmer whose wife and children had died in the plague. The collector demands that the Ploughman pay death taxes again on his family since he lacks documentary proof of their death seven years prior. The enraged Ploughman accosts the tax collector, and kills a soldier who tries to arrest him. This inspires peasants' revolts across the country, led by the Ploughman and actual historical characters from 1381 - a former soldier Wat Tyler (Cosmo Jarvis), and a previously imprisoned, apparently apocalyptically inclined priest, John Ball (Jamie Bell). The rebels march on London, where complete chaos erupts, while the rebels (mainly the Ploughman) negotiate with the King, whom the rebels treat with the veneration that his sacred status confers and that somehow sets him apart from the hated rich. Richard apparently gives in to the rebels and seems to betray his Council. In the end he seems to ally with the rising merchant class, represented by the Lord Mayor of London. The King then betrays the peasants and has Wat Tyler killed. Many of the rebels are massacred, but the Ploughman and a handful of associates escape.
One year later, the king and his mother are traveling through the forest when they are ambushed by the Ploughman and his fellow outlaws. Ultimately the Ploughman spares the King's life, leaving him to live in fear. The film ends with the King haunted as he was at the beginning. This fictional ending seems to evoke the legend of Robin Hood, who, however, historically predated these events by almost two centuries. (Historically, Richard II was ultimately deposed in 1399 by Henry IV, which remotely set the stage for the later Wars of the Roses)
The 14th-century aftermath of the plague was a period of economic dislocation and political transition. The merging merchant class were perhaps the prime beneficiaries (as the film suggests), although historically the peasants also benefited since their reduced numbers increased their power as an economic class, despite repeated legal efforts to keep them in their previous subordinate status. Their violent revolt was a long-remembered component of the chaos that occurred at that time. It continues to fascinate historians (especially those given to class analysis). The film avoids overt references to contemporary populist responses to today's economic and political conflicts, and the rebels' veneration of the sacred person of the King keeps the film firmly situated in its medieval ambience. On the other hand, the setting of the story in a haunted world traumatized by plague perhaps gives it a certain resonance in today's traumatized post-pandemic society, similarly haunted by its own versions of elite corruption and populist rage.
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