--- title: The Bold and Bloody True Story Behind 'The Uprising' description: How Paul Greengrass approached his account of the Peasants’ Revolt of 1381, which stars Andrew Garfield as an anonymous rebel with nothing left to lose. canonical: https://time.com/article/2026/09/08/the-true-story-behind-the-uprising/ author: JP Mangalindan article:opinion: false article:content_tier: free article:published_time: 2026-09-11T13:00:04.149Z article:modified_time: 2026-09-11T13:00:04.313Z article:section: Entertainment og:title: How the Bold and Bloody True Story Behind 'The Uprising' Reverberates Today og:description: How Paul Greengrass approached his account of the Peasants’ Revolt of 1381, which stars Andrew Garfield as an anonymous rebel with nothing left to lose. og:url: https://time.com/article/2026/09/08/the-true-story-behind-the-uprising/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt6e15ed42efda7f23/6aa0b9ddc00320838dee8eb6/4261_D027_00165rc.jpg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 og:image:width: 6000 og:image:height: 3375 og:image:alt: 4261_D027_00165rc.jpg og:type: article twitter:card: summary_large_image twitter:title: How the Bold and Bloody True Story Behind 'The Uprising' Reverberates Today twitter:description: How Paul Greengrass approached his account of the Peasants’ Revolt of 1381, which stars Andrew Garfield as an anonymous rebel with nothing left to lose. twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt6e15ed42efda7f23/6aa0b9ddc00320838dee8eb6/4261_D027_00165rc.jpg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 ---  # How the Bold and Bloody True Story Behind _The Uprising_ Reverberates Through History > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. by [JP Mangalindan](https://time.com/author/jp-mangalindan/) ## JP Mangalindan Sep 11, 2026 1:00 PM UTC  Andrew Garfield in The Uprising Andrew Garfield in The Uprising Courtesy of Focus Features by [JP Mangalindan](https://time.com/author/jp-mangalindan/) ## JP Mangalindan Sep 11, 2026 1:00 PM UTC The wind reaches the fens of eastern England before the light does, moving over the marshes in long gray sweeps. [Andrew Garfield](https://time.com/7098608/andrew-garfield-tim-walz-gentle-masculinity/), muddied and short of breath, labors through it: a farmer with his ox, cutting furrows into the land. His character, Ploughman, is a man who refers to himself simply by what he does. Grief has pared him down to labor and memory. The plague took his wife and children, and all that remains is a hut, the animal that shares it through the winter for warmth, and the daily toll of survival. It’s slow and thankless work, the kind a kingdom takes for granted as readily as the earth beneath its feet. That lone farmer anchors Paul Greengrass’ new film _The Uprising_, in theaters Sept. 11\. Written and directed by Greengrass, the filmmaker’s deepest reach into the past yet dramatizes the Peasants’ Revolt of 1381, when tens of thousands of English commoners, taxed past endurance in the long shadow of the Black Death, marched on London to demand a fairer world. Around Garfield, Greengrass assembled a cast that includes Jamie Bell as the rebel priest John Ball, Cosmo Jarvis as the revolt’s military leader Wat Tyler, [Thomasin McKenzie](https://time.com/5322675/thomasin-mckenzie-leave-no-trace/) as Alyce, a fictional follower of Ball, Woody Norman as the boy king [Richard II](https://time.com/5707035/the-king-netflix-true-story/), and Katherine Waterston as the Countess, Richard II’s mother. The film follows its hero from fens to road and road to London, then London toward the forest—as private grief grows into collective fury and fury reaches the gates of power. Beneath the armor and beyond the crowds, Greengrass’ epic hinges on the moment when people long treated as expendable begin to act on their claim to dignity and agency. Greengrass invented Ploughman for the film, but the forces pressing in on him are no invention. The director opted not to build _The Uprising_ around one of the revolt’s historical figures, such as Tyler or Ball. “I didn’t want my central character to be a soldier or a priest,” he tells TIME. “I wanted him to be emblematic of all the tens of thousands of people who rose up. They were all ordinary farmers, ordinary people who lived in villages and small towns, who’d had enough.” That decision turns a vast uprising into the story of one man whose loss forces him to confront the larger indignities of the world that remains. Garfield recognized that feeling across centuries. “I think that everyone watching will feel that connection,” he says. “A kind of sense of: What do you do in the face of such grave injustice? How do we heal? How do we fight for our right to live a life of freedom and of dignity, and of connection?” ## **A glimpse of what life could be**  Tom Hollander as Treasurer Hales, Woody Norman as King Richard II and Katherine Waterston as The Countess Courtesy fo Focus Features The Black Death reached England in the summer of 1348, most likely aboard ships that came into the Dorset port of Melcombe. Moving through the country at an estimated one to five miles a day, it reached London by November and, within two years, killed as much as half of England’s population. In its wake, whole villages were left empty. The horror was intimate and unrelenting: households vanished, kin buried kin, and parishes lost the priests who once baptized and married their people. Fields went to weed, and livestock wandered untended; the familiar rhythms of rural life gave way to an eerie void. The plague also changed the terms on which the survivors lived. Labor became scarcer, and scarce labor has a price. “What life _could_ be is probably at the heart of this whole story,” says Dan Jones, the historian whose 2009 book _Summer of Blood_ remains a defining account of the revolt. “Basic economics tell us that if you lose half the people, wages should go up. Rent should come down. Life for survivors ought, in theory, to get better.” Those left standing had reason to believe that life might improve. That possibility ran up against what Jones calls the “vested interests of power structures.” In England, he says, the government “immediately passes laws to suppress wages”: It imposed a maximum wage and sent judges into the countryside to enforce it. Mass death had made the old hierarchy newly fragile, and Parliament moved to restore it, with the laborer kept in his place and the landowner’s command protected. Then came the demands of war. England’s long conflict with France, a struggle over disputed territory as well as English claims to the French crown, continued, ruinous as ever, even as the plague cut the tax base and diminished the country’s productive power. The crown’s answer was a series of poll taxes, imposed on a population already strained by loss, labor restrictions, and military levies. There is, Jones says, “a class analysis to this rebellion”: elites were “taking aim squarely at the ordinary people,” first preventing them from improving their lot and then taxing them in ways they had not faced before. By the spring of 1381, deprivation gave way to imagination. People who ached for a better life were being ordered back into the old one, by statute and tax collector alike. The revolt drew force from a realization that threatened every hierarchy above it: the social order was made by people, and people could change it. ## **When the country catches light** Thomasin McKenzie as Alyce, Jamie Bell as John Ball, and Andrew Garfield as Ploughman Courtesy of Focus Features It began at the end of May, when villagers in Essex turned on the commissioners sent to collect the tax from them yet again. Within days, the uprising spread to Kent. On June 7, Tyler, likely a veteran of the French wars, emerged at the head of the Kentish rebels, who freed Ball, who had been jailed for seditious preaching, from the Archbishop’s prison at Maidstone; by June 10, they entered Canterbury. The couplet most famously associated with Ball put the rebellion’s challenge in a single question: “When Adam delved and Eve span, who then was the gentleman?” In a kingdom that understood rank as God’s design, the question was revolutionary. Adam worked the soil and Eve spun thread; no aristocrat stood beside them. So who, the couplet asks, gave one class the right to rule another? Jones describes Tyler and Ball as the revolt’s two hands, one holding the sword and the other the scriptures. Tyler brought military organization; Ball gave the movement its moral argument. “Between them, they create a very potent movement, because it’s not only organized but it’s radicalized,” Jones says. The name history settled on undersells the people who rose up. “It’s a very broad coalition,” Jones says, and the term “Peasants’ Revolt,” a historian’s term, can “obscure just what a wide range of people were involved.” This was not a rising merely of the utterly destitute. Whole villages moved with their structures intact: local leaders, parish priests trusted with their neighbors’ souls, craftsmen, and laborers, were joined in the capital by Londoners keeping their own accounts of unfairness. By Jones’ estimate, the coalition’s grievances ran through some 85% of the country, aimed at a thin sliver at the top—not at the king, whom they claimed as their own, but at the advisers, bishops, aristocrats, and officials they believed corrupted the realm. Women were certainly among the rebels. The surviving records place them at critical moments, including the storming of the Tower of London. Jones calls the revolt a “truly popular movement,” one that did not require its participants to possess the formal power otherwise held by men in a patriarchal society. What happened inside the city is the part no telling can sanitize. The rebels threw open the prisons and set fire to the New Temple, a Thames-side compound where lawyers-in-training lived and kept the books and records that helped sustain the kingdom’s legal order. They breached the Tower itself, where the king sheltered, dragged out the two men they blamed for the tax, Archbishop Simon Sudbury and Treasurer Robert Hales, and beheaded them. Jones contends the revolt demands two judgments at once. The grievances were real, and the people were being exploited. But the rising also became brutal, with violence extending beyond royal officials to others who were perceived as enemies of the revolt but had no hand in the tax. “You have to say that this was a good cause, _and_ the rebellion got hideously out of control,” he says. By midsummer, the revolt reached its breaking point. Richard II was 14, a boy raised from infancy to believe he was fated to save the realm. On June 14, he rode out to meet the rebels and granted their demands, the abolition of serfdom among them. At Smithfield the following day, Tyler was killed during a parley with the king’s entourage. Richard calmed the crowds by declaring they would have no leader but him, then turned against the rising. Within weeks, he canceled the freedom charters granted in London. His government hunted down the movement’s leaders and executed them, and the king is said to have told the petitioners that serfs they were and serfs they would remain, on terms harsher than before. There is a catch in knowing this version of events. Many chroniclers were churchmen, and the church was among the rebels’ targets. The legal records are rich, Jones says, but were created from the “perspective of the suppression of the rebellion.” Historians, he says, “have to read against the sources.” The archive preserves the rebellion mostly as seen by those who feared or punished it. ## **A hero the record never named**  Garfield and the rebels Courtesy of Focus Features _The Uprising_ grew from an ambition Greengrass held for years. The filmmaker behind [_United 93_](https://time.com/archive/6676849/lets-roll-inside-the-making-of-united-93/), [_Captain Phillips_](https://time.com/archive/6644764/hollywoods-moment-of-truth/), [_The Lost Bus_](https://time.com/7314530/the-lost-bus-true-story-paul-greengrass/), and three of the [_Bourne_](https://time.com/4424040/jason-bourne-movie-review/) films had long wanted to make a historical epic in the tradition of [_Gladiator_](https://time.com/7178474/gladiator-2-connections-original/) and [_Braveheart_](https://time.com/archive/6726721/cinema-another-highland-fling/). The material found him during the [COVID-19 pandemic](https://time.com/6898943/is-covid-19-still-pandemic-2024/). He began writing on the second day of lockdown, when there were no vaccines and no way of knowing how far the crisis would spread. The last pandemic on that scale led him back to the 14th century. By the time Jones first met with Greengrass, a map of London during the rebellion was already hanging in the director’s office. Soon, the filmmaker says, the period felt “eerily contemporary.” The script’s first title shows how early the film had ties to the [Robin Hood legend](https://time.com/5569410/robin-hood-legend-history/). “When I wrote it in lockdown, it was called _The Hood_ because of the ending,” he says. Ploughman begins as a farmer, but his journey ends beyond the reach of the king’s law, in the forest. That turn places him beside an outlaw tradition already circulating in the late 14th century. William Langland’s _Piers Plowman_, the poem that helped inspire Greengrass’ protagonist, contains the earliest known written reference to [Robin Hood](https://time.com/archive/7073775/robin-hood-through-the-ages/), evidence that tales of the outlaw were already familiar before the surviving ballads were committed to writing. Jones sees the Peasants’ Revolt and medieval outlaw tales, including stories of Robin Hood, as products of the same political world: one in which ordinary people saw legal authority serving the powerful rather than protecting them. The early Robin Hood was no polished folk hero, Jones says, but a violent, devout yeoman pushed to society’s edge by corrupt officials. Its central tension was the “fundamental difference between law and justice.” As Greengrass puts it, at a time when people “felt powerless and betrayed,” they told stories “about outlaws who stood up to power when they couldn’t.” That rich idea shaped Greengrass’ choice of hero. Tyler and Ball could have supplied the film with a soldier and a priest, two historical figures already established in the record. Instead, the filmmaker begins with a farmer at the first spark in Essex, then follows him as the uprising gathers people, reaches London, and begins to turn against itself. The character is invented, but he comes from the revolt’s own language. Jones notes that actual letters found on Ball after his arrest, written to sustain the rebellion’s spirit, appeal to archetypal figures of the working land, including ploughmen like the one Garfield plays. ## **Giving Ploughman a life** [Garfield](https://time.com/collections/100-most-influential-people-2022/6177784/andrew-garfield/) felt the pull of his role at once. “It’s not often that I will read something and fight to play that part, and I did that with Paul,” he says. His note arrived after years of halting development, from an actor Greengrass knew only casually. “It’s the email you dream of getting from a brilliant actor who says, ‘I’ve read your movie. I really want to be in it,’” Greengrass says. To prepare, Garfield began with the rhythms Ploughman would know. “It’s a man that lives in a very, very different time and in a very, very different rhythm to me,” he says. “Connection to the earth and connection to nature, that felt very, very important.” He researched the seasons, harvests, clothing, daily labor, and the habits of the ox. Before filming, he spent time in Ploughman’s hut with the animal, learning the terms of a household in which the ox slept indoors through winter to provide warmth. “Connection to his ox, that was the primary relationship in the story,” Garfield says. The animal is at once Ploughman’s companion, source of heat, and fellow laborer. His wife and children are dead before the film begins, but Garfield imagined the life Ploughman lost so he could carry that grief across the film. He developed their history and their absence until they became, as he puts it, the “kind of invisible visible spirit characters that are there throughout the story.” Their absence helps explain why the character continues to seek justice, even after the uprising begins to lose its way. “They are the characters that are drawing him forward throughout the action of the film,” Garfield says. That loss follows Ploughman beyond the hut and into his encounter with Richard II. He was taught that the king speaks with God’s authority. When the crown proves capable of betrayal, Garfield sees the break as spiritual as much as political. “It’s like waking up from a cult,” he says. “It’s like waking up from being manipulated and misled and brought down a path that was being governed by evil, power-hoarding, oppression, being disguised as a kind of spirituality.” Greengrass places Ploughman’s awakening beside Richard’s. “Here’s this powerless farmer who is struggling to find agency in the world,” he says, and opposite him is “this 14-year-old boy king” trying to find agency of his own. Their paths cross, then diverge. “One goes from being the farmer to the outlaw, and the other goes from being the powerless king to the tyrant.” Outside Ploughman’s hut, Greengrass worked to establish the larger world that makes that private life so vulnerable. “Deep period movies have quite a close relationship with [science fiction](https://time.com/6144766/sci-fi-fantasy-books-that-deserve-movie-adaptations/),” he says. “They’re both really cinematic world creations.” Greengrass uses costumes to mark the division between court and country. The period’s sumptuary laws regulated dress by rank, especially the cost and luxury materials people could wear. In the film, Ploughman and the people around him move through a restricted color palette; Richard II’s court does not. With little of medieval London still standing, Bavaria offered spaces that could be more readily adapted for the film’s 14th-century settings. At Penzing Studios, the open-air museum at Bad Windsheim, the fortress at Lichtenau, and sites in Nuremberg, the production found medieval stonework, corridors, chapels, crypts, and staircases suited to the royal court. St. Sebaldus Church, built in the 13th century, became several locations within the film. Constructed sets and visual effects widened those spaces. The London uprising scenes required the opposite approach: not courtly rooms and corridors, but night shoots packed with bodies, smoke, fire, and a city coming apart. Garfield does not think of the German supporting artists who stayed through the shoot as simply “extras.” “These supporting actors were the vital ingredient of this project,” he says. “It was a really profound experience to share that march and those fights with the same group of people every day.” Greengrass moved that company through a handful of locations, recomposing them for each setup until a modest crowd read on screen as a revolt spilling across the capital, and shot the scenes in firelight, with takes that could last 15 or 20 minutes. Within those long takes, Garfield had to keep track of his character, what he saw, and how he responded as the crowd shifted around him. The firelit crowds give the film its largest scenes. But more critical than the technical logistics of these shoots was posing the questions that arose from their aftermath. What remained, the film asks, after Richard II effectively took London back and the revolt ended?. ## **What the revolt left behind**  Woody Norman as King Richard II Courtesy of Focus Features By summer’s end of 1381, the rising was broken: Tyler dead, Ball captured and executed, and the freedom charters canceled. Measured against its concrete demands, the revolt failed almost completely. But the decades that followed tell a more complicated story. Serfdom, the institution the rebels once asked their king to abolish, withered; by 1450, Jones says, when England’s next great rising came under Jack Cade, it was effectively finished, and the people who marched that time were more politically fluent than their grandparents. Greengrass sees in 1381 a distant beginning for the individual rights that developed over centuries. Jones brings the historian’s longer view to that reading. “Straight lines can only be drawn through history with retrospect and with the blinkers on,” he says. “But this is a moment when the ordinary people step onto the political stage in the English-speaking world, and they are never thereafter off it.” Greengrass’ ambivalence about such moments in history stems from his early work as a documentarian, when he filmed upheaval in Northern Ireland, [apartheid South Africa](https://time.com/archive/6717060/south-africa-the-twilight-of-apartheid/), and other places where political orders were breaking apart. “Revolutions always eat themselves,” he says. “They start off with people’s intense hopes and dreams, but once you pull authority down, the result is chaos, and it’s only later, when it’s all over, that you can draw a ledger.” How to weigh that ledger, Greengrass leaves to the audience: gripped, he trusts, by Ploughman's journey, recognizing something of their own restless present in its medieval setting, and free to draw their own conclusions. The man who ends the film in the forest is, for Garfield, the man he always was: an invisible person, the kind who passes unseen through an ordinary day as “someone who simply wants to live a life of truth and dignity.” “I think that we can all identify with that in a deep way, in a kind of core way," the actor says. He hopes audiences, once they see the film, will notice the invisible people around them, and the invisible parts of themselves that ask only for small liberties: wind on the face, a dance every once in a while, a walk amid what he calls the "hard work of being alive.” That invisibility is rooted in centuries of historical silence. The archive remembers the crown, the church, and the officials who repressed the uprising more fully than it preserves the villagers who made it possible. Nearly everything that survives of the rebels comes down through their enemies’ pens; Greengrass’ film reaches toward lives that history left largely unseen. And while the revolt was put down in a distant summer, the claim beneath it—to dignity and agency—was not. It outlived the gallows, the revoked charters, and the chroniclers who reduced the people to a mob, and it endures in a handful of letters attributed to Ball urging the ploughmen of England to hold fast, written as if their author knew that in some inky field, one of them would look up. With _The Uprising_, Greengrass made a film about the man who does. ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/article/2026/09/08/the-true-story-behind-the-uprising/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/article/2026/09/08/the-true-story-behind-the-uprising/"},"headline":"How the Bold and Bloody True Story Behind The Uprising Reverberates Through History","datePublished":"2026-09-11T13:00:04.149Z","dateModified":"2026-09-11T13:00:04.313Z","description":"How Paul Greengrass approached his account of the Peasants’ Revolt of 1381, which stars Andrew Garfield as an anonymous rebel with nothing left to lose.","url":"https://time.com/article/2026/09/08/the-true-story-behind-the-uprising/","keywords":["movies","freelance","culturepod"],"thumbnailUrl":"https://static.time.com/v3/assets/bltea6093859af6183b/blt6e15ed42efda7f23/6aa0b9ddc00320838dee8eb6/4261_D027_00165rc.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","author":[{"@type":"Person","name":"JP Mangalindan","jobTitle":"","url":"https://time.com/author/jp-mangalindan/"}],"articleSection":"Entertainment","image":[{"@type":"ImageObject","url":"https://static.time.com/v3/assets/bltea6093859af6183b/blt6e15ed42efda7f23/6aa0b9ddc00320838dee8eb6/4261_D027_00165rc.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","width":1200,"height":675,"headline":"4261_D027_00165rc.jpg","caption":"","creditText":"Courtesy of Focus Features","representativeOfPage":true}],"publisher":{"@type":"Organization","name":"Time","url":"https://time.com/","logo":{"@type":"ImageObject","url":"https://time.com/images/logo.png","width":528,"height":156},"foundingDate":"March 3, 1923","sameAs":["https://www.facebook.com/time","https://www.instagram.com/time/?hl=en","https://twitter.com/time","https://www.pinterest.com/timemagazine"]}},{"@context":"https://schema.org","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"/section/entertainment/","name":"Entertainment"}},{"@type":"ListItem","position":2,"item":{"@id":"/tag/movies/","name":"movies"}},{"@type":"ListItem","position":3,"item":{"@id":"https://time.com/article/2026/09/08/the-true-story-behind-the-uprising/","name":"How the Bold and Bloody True Story Behind The Uprising Reverberates Through History"}}]}] ```