Archive for History

Film Review: Nuremberg (2025)

Directed and Written by James Vanderbilt, based on the book The Nazi and the Psychiatrist by Jack El-Hai Starring Russell Crowe as Hermann Göring

Introduction

This is not the first film to take as its subject matter the trial of leading Nazi Party members after the end of the Second World War, and no doubt it won’t be the last. 1961’s excellent Judgment at Nuremberg is perhaps the best, although that dealt with the trial of second-string Nazis in 1947, rather than the remnants of the High Command in what we’ve come to know as “The Nuremberg Trials,” as with this latest movie.

The closest we’ve had to 2025’s Nuremberg is the two-part made-for-TV miniseries of the same name starring Alec Baldwin and Brian Cox, released in 2000. On first viewing, I’d say that the new film, despite being made for cinema with the bigger budget that implies, doesn’t quite live up to the earlier effort. That’s based on a quick revisiting of the similar ground covered twenty-five years ago, courtesy of a free showing via YouTube.

First viewings can be deceptive, but, speaking personally, I tend to enjoy films more on first viewing, especially when seen on the big screen. So I suspect my first impression—that this movie didn’t quite live up to my expectations, nor to the largely positive reviews it’s received so far—will stand.

In both movies, it’s the character of Reichsmarschall Hermann Göring that dominates. As Göring was the highest-ranking Nazi to survive to face trial (if we ignore the fact that Hitler stripped him of all official positions and honours in his Last Political Testament), that is only to be expected. The new movie concentrates heavily on the relationship between Göring and the American psychiatrist Douglas Kelley, played by Rami Malek, and is based on Jack El-Hai’s book on the same subject, with perhaps some influence from Kelley’s own account in his own book, 22 Cells at Nuremberg.

Positives

The movie was directed with admirable pace by Vanderbilt, such that I never felt the almost two-and-a-half-hour length dragged at any point.

As far as the acting was concerned, it’s a decent ensemble piece, with mostly good performances all round. In particular:

  • Andreas Pietschmann as Rudolf Hess: was Hess’ periodic amnesia a tactical affectation, or a genuine ailment? By the end of the film, we are still none the wiser, but that was also true of the Allies, with assessments varying according to which of the many psychiatrists examined him at any given time. At the time of Hess’ “suicide,” aged ninety-four in 1987, according to the excellent book The Loneliest Man in the World by the former director of Spandau prison Eugene Bird, that was still the case more than forty years later. Full credit to Pietschmann for capturing Hess’ enigmatic nature in what was a relatively minor but important role.
  • Géza Bodor as Albert Speer: Unlike Hess, who never disavowed his Nazi past, Speer dedicated a whole book (Inside the Third Reich) to expressing his remorse. How genuine this remorse was is as unclear as Hess’ amnesia, and Bodor does a good job of capturing this ambiguity.
  • Michael Shannon portrays American Chief Prosecutor Justice Robert H. Jackson with competence.
  • Richard E. Grant is worthy of note as Sir David Maxwell-Fyfe, head of the British contingent.
  • Leo Woodall is very good as Sergeant Howie Triest, Kelley’s German interpreter.

But really, it is Russell Crowe whose star shines brightest as the arrogant, pompous, corrupt, though often superficially charming Göring. I assume that Crowe learnt German specifically for this part, in which case, as far as I’m able to tell as a non-German speaker, he did an excellent job. That he spoke English in the dock—which was clearly not the case in real life, although Göring could apparently speak English to a decent level—can be excused as a cinematic contrivance designed to make the film easier to follow.

Negatives

The weakest performance, and one that is important given how much of the film rests upon it, came from Rami Malek as Kelley—a performance that was too broad and lacking in subtlety for my taste.

Some parts of the movie, such as Kelley sneaking off to pass letters back and forth between Göring and his wife and daughter, seemed almost certainly an invention, though presumably they are also present in the original source material.

Having praised the pace of the direction, I do think we took far too long to get to the courtroom scenes, and what we did get was nowhere near enough. What was needed at this point was a “Gotcha!” moment where the prosecution turned the tables on Göring, using insights gleaned from Kelley’s many hours of discussion with the former Reichsmarschall. The script tried to provide this, but all we got—via the intervention of Maxwell-Fyfe—was a list of the positions Göring held in the Party and State between 1942 and 1944, based on Kelley’s assertion that Göring would never, even if his own neck literally depended on it, speak against the memory of his late Führer.

I don’t know how accurate this was to the court transcripts, but it seemed nowhere near enough in itself to prove Göring’s guilt, whether in regard to the fate of Europe’s Jews or to the planning of aggressive war in Europe. It was not enough to cause Göring to crumble in the dock, which, despite comments to the contrary, we didn’t really see anyway—merely a lessening of his up-to-that-point self-assured arrogance.

In addition, the courtroom scenes were overloaded with melodrama, with pained glances between the prosecution team when Göring made a good point, and euphoric looks when Jackson did likewise, as though they were partisans at a sporting occasion rather than participants in a historic and groundbreaking legal procedure.

How Göring procured, or managed to conceal for a year and a half—despite presumably numerous and thorough personal searches—the cyanide capsule that enabled him to cheat the hangman’s noose was not addressed, other than the suggestion that it was somehow linked to a sleight-of-hand magic trick learnt from Kelley, which seems unlikely. As we, almost seventy years later, still don’t know the answer to this question (though help from a sympathetic guard seems the favourite), it would have been better not to raise the issue at all.

The film should rightly have ended with Göring’s death, but instead we were treated to the sight of Julius Streicher, played rather cartoonishly by Dieter Riesle. Streicher sobs with fear in his cell before being coaxed to his fate by Triest. I found the scene extremely gratuitous, serving no purpose other than to show that these war criminals, whose decisions and actions led to the deaths of tens of millions, met their own deaths as snivelling cowards. This may or may not have been true in Streicher’s case, but it certainly wasn’t true of all those convicted.

I don’t know the details of how each of them met their end, but I do know that, to give one instance, ex-Foreign Minister Ribbentrop defiantly shouted “Deutschland über Alles” before the hood was placed on his head.

At any rate, I thought it a bad way to end the film, somewhat redeemed by an epilogue about what became of some of the central protagonists which, in the case of Kelley—and I won’t spoil it for those who, like me before this movie, don’t know his postwar fate—came as a genuine surprise.

Conclusion

I enjoyed the movie more than much of the above perhaps suggests. But I do think it inferior to the TV version from twenty-five years ago. There was far too much pure invention, or what at least smacked of pure invention, for my taste. Probably, no feature film could adequately recapture the real-life drama and real-world importance of the trials. In that case, the subject matter would be best served by a lengthy, multi-part, serious documentary.

Still, worth a watch.

Anthony C Green, November 2025

Poster credit: By Sony Pictures – IMDb, Fair use, https://en.wikipedia.org/w/index.php?curid=81605084

Book cover for 'The Angela Suite' by Anthony C. Green, featuring an artistic illustration of feet and a visual representation of a cityscape in the background. The title is prominently displayed in bold, red letters with 'BUY NOW' text in a darker shade.

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Exploring Power and Emotion in The Duchess Film

528 words, 3 minutes read time

The Duchess (2008) is a film about constraint—emotional, social, and political. It tells the story of Georgiana, Duchess of Devonshire, whose life in the public eye is tightly controlled, yet whose inner world is rich with longing, intellect, and complexity. Keira Knightley brings Georgiana to life not as a tragic heroine in the conventional sense, but as a woman who learns, painfully and slowly, how to navigate the cages built around her.

What stands out most is the film’s careful attention to the power structures Georgiana is caught up in. Her marriage to the Duke (played with cool detachment by Ralph Fiennes) is not so much a partnership as a transaction—one in which her value is determined by her ability to produce a (male) heir and behave with discretion. Yet there are moments when his regard for her appears to shift—particularly after the birth of their son. It’s not affection as we might wish for it, but it’s a change nonetheless, and the film doesn’t ignore those subtleties.

Georgiana’s relationship with Elizabeth Foster (Hayley Atwell) brings a different kind of tension. Their closeness provides Georgiana with something the rest of her life lacks: warmth, intimacy, and a sense of solidarity. But even this friendship is complicated. Elizabeth becomes involved with the Duke, and the emotional betrayal that follows is raw and messy. Still, the bond between the two women endures, shaped both by survival and loyalty. It’s one of film’s most honest portrayals of female friendship under pressure.

There’s also a powerful undercurrent around motherhood—what it costs, what it gives, and what’s taken away. Georgiana’s forced separation from her daughter with Charles Grey is quietly devastating, and yet she finds ways to maintain a connection. In contrast, her mother (played by Charlotte Rampling) views Georgiana’s marriage and public role with cold pragmatism. Her advice is sharp-edged: don’t expect love, just endure.

It’s easy to see why critics have compared Georgiana to Diana, Princess of Wales. Both were women placed on pedestals, scrutinised by society, and ultimately failed by the institutions they served. But The Duchess doesn’t lean too heavily into that parallel. Instead, it allows Georgiana’s story to speak for itself—as one shaped by compromise, ambition, and the quiet forms of resistance women find when louder ones are denied to them.

The use of costume and setting is effective without being showy. The grandeur of Devonshire House or the stylised garden parties is never there simply for spectacle—it reinforces how trapped Georgiana is, even in rooms full of admirers. Her life is a performance, and the film keeps reminding us what it costs her to keep it up.

This isn’t a story of rebellion in the usual sense. Georgiana doesn’t smash the system. She learns to live inside it, with all the heartbreak and small triumphs that come with that. The Duchess is a film that sits with discomfort. It doesn’t offer a neat resolution, but it leaves you thinking about power, silence, and the things women have historically been asked to give up in exchange for a seat at the table.

By Mia Fulga

🎥 The Duchess (2008) – Own or Stream Today! 👑

Step into the lavish world of Georgiana, Duchess of Devonshire, in this gripping historical drama starring Keira Knightley and Ralph Fiennes. Get your copy or stream now:

📀 DVD: Buy here
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Don’t miss this stunning period drama! 🎬

Picture credit: By http://www.traileraddict.com/content/paramount-vantage/duchess.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=24129101

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Journey’s End (2017): Portrayal of Psychological Toll of War

447 words, 2 minutes read time.

“Journey’s End” (2017) is a powerful and poignant war drama that brings R.C. Sherriff’s classic play to life on the big screen. Directed by Saul Dibb, the film is set during World War I and unfolds within the claustrophobic confines of a British trench on the Western Front.

The film’s greatest strength lies in its authentic portrayal of the psychological toll of war. As the characters grapple with fear, camaraderie, and the inevitability of death, the audience is given a raw and unflinching glimpse into the harsh realities faced by soldiers on the front lines. The ensemble cast, featuring standout performances from Sam Claflin, Asa Butterfield, and Paul Bettany, effectively conveys the emotional complexity of their characters.

Dibb skillfully captures the tension and sense of impending doom, creating an atmosphere that is both harrowing and immersive. The trench setting adds to the film’s realism, with mud-covered landscapes and dimly lit bunkers, transporting viewers into the heart of the war experience.

The narrative unfolds in real-time, heightening the immediacy of the characters’ experiences. The script balances moments of intense drama with quiet, reflective interludes, providing a nuanced portrayal of the human condition in times of extreme adversity.

“Journey’s End” is a war film that goes beyond the battlefield, delving into the humanity of its characters and exploring themes of sacrifice, duty, and the futility of war. The film also explores the social and political themes of class differences, courage, and comradeship1. The portrayal of the Colonel and unseen superiors suggests that Sherriff wants us to question the decisions and behavior of the rich, privately educated men in charge of the war effort. While Sherriff does not mock them outright, he does give his audiences reasons to doubt those in power. The play also showcases the effect of war on personal relationships, particularly how wartime power dynamics and interpersonal attitudes alter the ways people interact with one another.

“Journey’s End” is a sobering and emotionally resonant film that pays homage to the original play while offering a fresh and cinematic perspective on the enduring impact of conflict on the human soul.

Sherriff uses World War One to explore a variety of themes – including the futility of war, class differences, courage, and comradeship. The portrayal of the Colonel and unseen superiors suggests that Sherriff wants us to question the decisions and behaviour of the rich, privately educated men in charge of the war effort. The play showcases the effect of war on personal relationships, particularly how wartime power dynamics and interpersonal attitudes alter the ways people interact with one another.

Reviewed by Pat Harrington

Picture credit: The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=52754711

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Review: Odette (1950)

“Odette” (1950) is a compelling and poignant war drama that tells the true story of Odette Sansom, a British intelligence officer who played a crucial role during World War II. Directed by Herbert Wilcox, the film offers a gripping narrative that unfolds against the backdrop of espionage and resistance.

One of the standout aspects of the film is Anna Neagle’s exceptional performance as the titular character, Odette Sansom. Neagle’s method acting approach brings depth and authenticity to Odette’s character, capturing the audience’s attention from start to finish. She portrays the resilience, strength, and bravery of Odette, making her an inspiring figure in the face of unimaginable challenges.

However, it is unfortunate that the film isn’t as well known as other war films of the period. “Odette” may not have achieved the same level of popularity as some of its contemporaries, but it certainly deserves accolades for its strong storytelling and impressive performances.

The supporting cast, including Trevor Howard and Peter Ustinov, adds depth to the film, with strong performances that enhance the overall storytelling. The script balances the personal and the political, offering a nuanced exploration of Odette’s character and her commitment to the Allied cause.

The film beautifully captures the sacrifices made by men and women during wartime and offers a unique perspective through the eyes of a female intelligence officer. It generates a sense of empathy and admiration for Odette Sansom and others like her, who risked their lives to serve their country during one of the darkest periods in history.

“Odette” not only sheds light on an important wartime story but also explores themes of bravery, patriotism, and resilience. It serves as a reminder of the countless unsung heroes of World War II and their contributions to the war effort.

In summary, “Odette” is a hidden gem among war films of the era, elevated by Anna Neagle’s nuanced performance as Odette Sansom. It is a movie that should be watched and appreciated for its unique perspective and engaging storytelling.

Reviewed by Pat Harrington

Picture credit

Odette: The cover art can be obtained from Movieposterdb.com., Fair use, https://en.wikipedia.org/w/index.php?curid=32743677

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Dominic Frisby: Gold

⭐⭐⭐⭐⭐

Dive into the mesmerizing world of gold with Dominic Frisby’s ‘Gold’ at the Edinburgh Festival Fringe. This captivating spoken word show takes you on an enchanting voyage through history, as Frisby skilfully intertwines education and entertainment, unravelling the myth, origin, physical attributes, and enduring purchasing power of gold.

Frisby’s magnetic stage presence and adept storytelling transport you effortlessly through time, exploring the profound human connection with gold, tracing back to ancient times. His engaging delivery, enriched with both wisdom and humour, ensures that the subject appeals to a broad audience, irrespective of their financial interests.

Balancing insightful reflection and light-hearted wit, Frisby’s presentation is further enhanced by AI-generated graphics and charts that make complex data accessible and engaging. Some of the AI generated art adds an extra layer of humour – I found the depiction of a Tory type in a Saville Row suit and a Roman senator in his Toga oddly entertaining.

Having experienced the show first-hand, I can vouch for its transformative impact. Frisby’s expertise shines as he unveils the riveting history of gold. Investing an hour in this experience yields a treasure trove of knowledge and entertainment.

‘Dominic Frisby’s ‘Gold” is a journey into the essence of a metal that has fascinated humanity for millennia. If you’re curious about the evolution of currency, the allure of gold, the interplay between wealth and freedom, and the geopolitics of gold reserves, this show is a true gem. Don’t miss the opportunity to be enlightened and entertained by Frisby’s remarkable presentation.

Reviewed by Pat Harrington

Panmure House – The Reading Room
14:00
Aug 15-20
55 minutes

#edinburghfringe #edinburghfringe2023

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Battle: A modern mystery play

Venue 9; The Space till 27 August 

Few plays can boast 21 different characters played by just four actors, that’s exactly what Swanwing Productions have accomplished this difficult task using just a few items of costume and some basic props; a staff, three pairs of scissors, a longbow, and a framed picture of Princess Diana.

This thoughtful play, introduced by Old Father Time, runs through conflicts in history from the Battle of Hastings in 1066 through to the present day.

Battle has its humorous moments; who realised that our history is full of disputes between Harrys and Williams, for example? There are also deeply poignant moments. In one scene that moved this reviewer to tears, Bruce, a dying soldier shown crying for his mother, thought that a woman who had come to strip the dead and wounded for any valuables was an angel because she gave him a sip of water.

Reviewed by David Kerr

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RELIGION, RIOTS AND REBELS the incredible history of Brown’s Square, Belfast

Francis Higgins. Belfast Lad Publications 2020

Reviewed by Sam Halliday

If you shop in the huge CastleCourt mall in Belfast city centre, you are only a few hundred metres away from one of the city’s historic areas,;  Brown’s Square.  Bounded by Millfield, Peter’s Hill and the sunken Westlink dual carriageway, this small area has been a significant player in our city’s history. Francis Higgins – a Brown’s Square resident himself – tells the story of his area in this fascinating book.

A valuable social and oral history book

The author gives a glimpse of the prehistory and the topography of the area from the end of the Ice Age to the first human settlements. He explains how the Norman conquest changed everything; they built a corn mill at what is now Millfield.

Owing to the influence of Arthur Chichester, Belfast received a Royal Charter from King James I as a borough,; a proper town. By the early 1700s the mill dam was a source of clean piped water for the growing town.

John Brown, a descendant of a former supporter of King Charles I during the English Revolution, moved to a house on Peter’s Hill. Brown was a bit of a property speculator who bought leases on land on the Lodge Road and Old Park.

As High Sheriff of Belfast, he laid the foundation stone of the White Linen Hall in 1783. He was a strong supporter of the British Crown, a freeholder of Belfast, a captain in the Belfast Volunteers and a prominent Freemason. Brown’s loyal contribution was recognised by Belfast Corporation which granted him the plot of land that still bears his name today.

Other local masons didn’t share Brown’s loyalty to the Crown.  They used the cover of a couple of Masonic lodges to conceal their membership of another secret society – the United Irishmen. They met in a tavern in Brown Street. One prominent member was Jemmy Hope, a Presbyterian weaver; one of the ‘men of no property’ destined to be betrayed by middle class poseurs.

The Industrial Revolution had begun to transform Brown’s Square. Small weavers’ cottages disappeared and industry moved in:; a bottle glasshouse, two linen mills and a National School.

Growing industrialisation, slum housing, wage cuts and poverty led to civil unrest in the area. People moving into the town for work brought their sectarian attitudes with them. Protestants settled mainly in Brown’s Square, whereas Catholics moved to the other side of the Farset in the Pound. Attitudes to one- another hardened, causing Catholics to leave Brown Street School for a new Catholic one in Donegall Street. From 1813 onwards, sectarian rioting and inter-communal violence became common, fuelled by cheap booze, slum housing and grinding poverty.

Churches began to move into the area:; St Stephen’s in Millfield, Townsend Street Presbyterian Church and a Methodist chapel in Melbourne Street. To keep public order, a Royal Irish Constabulary barracks was built on the site of John Brown’s former home in the mid-1860s.

By the start of the twentieth century, 620 households were spread over 28 streets. Some of the housing stock was the worst in Belfast. The area hosted ten pubs, six local schools, a chippy, a billiard hall and a variety of local shops.

The author gives a potted history of the Ulster Crisis at the start of the twentieth century which was temporarily set aside with the outbreak of the First World War. His meticulous research tells the individual tragic stories of the Brown’s Square men who fought and died in that dreadful conflict.

The interwar years didn’t see peace or prosperity in Belfast. Despite promises, the postwar slump didn’t allow for either jobs or homes ‘fit for heroes’. Brown’s Square was now an overcrowded slum. Working hours were long and conditions were hard for those with jobs. Labour unrest grew. Added to this was the violent overspill from the War of Independence and subsequent civil war in the South of Ireland that led to the emergence of the Irish Free State there and Northern Ireland in the northern six counties. Again, Brown’s Square residents found themselves in the front line.

In these times, your only chance of finding work was often on a ‘who you know rather than what you know’ social network; often through membership of the Orange Order.

Unemployed workers had to be assessed by the demeaning Outdoor Relief system. Local people were so annoyed by this that they elected an independent Unionist candidate, Lieutenant Colonel Phillip J Woods at a local bye-election. The ‘Fighting Colonel’ championed ex-servicemen. Woods was a veteran of the Somme and Messines battles. He had been awarded the DSO for bravery. He brushed aside easily the lies and smears of the Official Unionist establishment. He only lost his seat after Craig’s government abolished Proportional Representation in local elections.

Growing discontent with the contemptuous way in which poor people were treated by the Belfast Board of Guardians, many churchmen and the political establishment – they were called ‘wastrels’ and ‘parasites’ – led to a strike in 1932. One of the strikers was Walter Smith, the author’s uncle. His story shows one of the best things about Higgins’s book; the amount of personal touches and connections he has to his district’s story.

Such was the Unionist Party’s paranoia, anyone demanding better living conditions was regarded as attacking the State and the Protestant religion. Protests were broken up by the RUC who shot two men dead,; one a Protestant and the other a Catholic. However, by 1935, more ‘traditional’ rioting had returned. This pattern has continued, off and on, into the twenty-first century.

During the Second World War, Brown’s Square had become known as ‘the oasis’ as it boasted at least 22 pubs or ‘drinking establishments’ and three dance halls. This reviewer wonders where they managed to put them all! Housing was still squalid and unfit, divided on sectarian and class lines. Catholics lived on the west end of the area by the Farset and the better off lived around Townsend Street.

Higgins sketches out the wartime recollections of some residents. One lady he interviewed lived to 103 and received both a telegram of congratulations from Queen Elizabeth and a letter of congratulations and cash from the President of Ireland.

Belfast had very poor air defences, so much so that the author’s mother witnessed a Junkers Ju88 reconnaissance plane flying unchallenged low over Royal Avenue. Using the recollections of local interviewees, Higgins gives a vivid account of the devastation caused locally during the infamous Easter Tuesday air raid of 1941. His report of the death and destruction caused by the collapse of the air raid shelter in nearby Percy Street is still heartrending to read, over seventy years later.

Many local people served in the armed forces during the war. Once again, drawing on personal reminiscences of his interviewees, Higgins gives brief sketches of the lives of some of these men. One, the author’s uncle Francis Higgins, was one of the first men involved in the liberation of the Bergen-Belsen concentration camp.

The author’s assiduous research is one of the great strengths of this book. He unearths some wonderful recollections of the social mores of the time in his chapter on the 1950s; a time of growing postwar affluence, elaborate Orange arches, backstreet abortionists, childish street gangs, but also increasing segregation on sectarian lines. One straw in the wind was the emergence of a local chapter of a group called ‘Ulster Protestant Action’. Some of its members were later to found the Democratic Unionist Party as an alternative to the then dominant ‘Official’ Unionist Party.

The 1960s opened optimistically. That soon changed. As in the best oral history books, Higgins records the experiences of quite a few longtime residents as the area was blighted by the controversial Belfast Urban Area Plan and a renewed outbreak of civil disorder towards the end of the decade.

This plan envisaged wiping out areas like Brown’s Square and relocating the displaced populations to the ‘new city’ of Craigavon and towns like Antrim and Carrickfergus, where new companies, attracted by government grants, had set up factories. Extended family networks where several generations of each family lived close to one-another were casualties of this plan. Brown’s Square and other inner city working-class areas stood in the way of a planned Belfast Urban Ring Road.

The Protestant Unionist councillor Eileen Paisley was one of the only unionist members of the Belfast Corporation to object to the plan, but the vote was lost. Higgins explains the full enormity of a plan that would have driven an elevated six-lane motorway thirty feet above the blighted wasteland it would have left behind. Check out the part of York Street between the Westlink and Yorkgate Station even today for an idea of what that would look like. No wonder that another author, Ron Weiner, called this the ‘rape and plunder of the Shankill’.

The great shame was that loyalists were reluctant to criticise the Official Unionist establishment and run the risk of accusations that they were in league with the only other party to object to the Corporation’s plans; the left-of-centre Republican Labour Party.

While planners plotted the extinction of Brown’s Square and the dispersal of its residents and small businesses, a newer and more vicious strain of violence emerged. The author himself witnessed the RUC using water cannons against Protestant rioters in 1966. By 1969 large-scale violence broke out. The RUC couldn’t cope, so British soldiers were brought on to the streets. They set up a ‘peace line’ on Townsend Street. As Higgins notes, it’s still there today. That peace line as far as Northumberland Street was drawn up at a meeting by an army officer on a map on his family’s coffee table. His great uncle, Johnny McQuade MP, was one of the participants.

Higgins sketches out how the plan blighted the area and how the early phase of the Troubles halted the proposed ring road. Belfast Corporation itself dissolved under Direct Rule from Westminster, but not before large swathes of Brown’s Square, Divis Street and Peter’s Hill were flattened.

Brown’s Square became a focal point for inter-communal violence. To cope, the army set up temporary barracks in local church halls, factories and the RUC station. A massive loyalist protest at the bottom of the Shankill led to the death of an RUC constable at the hands of a loyalist sniper, despite attempts by local clergy to calm the situation. After this, Higgins asserts, quoting Weiner’s seminal study as authority, that military considerations were taken into account in all future town planning. So when the sunken Westlink replaced the proposed elevated ring road, the security forces only had two easily controlled motorway bridges over Peter’s Hill and Divis Street to contend with.

It’s a good reminder to those folk in the loyalist community today who lionise the Parachute Regiment that its members shot dead two innocent Protestant civilians on the Shankill Road, Richie McKinney and Robert Johnston in 1972; – the same year as Bloody Sunday in Derry. The author meticulously documents all the sectarian murders locally, whether committed by the IRA or loyalist groups.

Higgins – rightly so – is scathing in his denunciation of the despicable treatment of Brown’s Square and its settled community, “at the hands of Belfast Corporation, the Ulster Unionist Party, Army HQ at Lisburn and developers who saw Brown’s Square simply as cheap land close to the city centre and therefore ripe for exploitation.” From 1900 to 2006, businesses were reduced by 99% to six, houses by 82% to 111, streets by 65%, all the bars and pubs disappeared as did all youth and social groups and five out of six schools.

Despite all this, the author remains optimistic for the future of Brown’s Square after new residents move into the new apartments currently under construction in Gardiner Square. The area will change, but it will survive and grow.

Francis Higgins deserves credit for the labour of love he has spent in putting this valuable social and oral history book together. It’s well researched and referenced and definitely worth reading. He has put his heart and soul into telling the story of the urban village that his family has called home since at least 1803. It really shows. That said, he could have done with a good proofreader and editor to remove irritating errors and inconsistencies in the text and references. He tells us that the area is “Brown’s Square” not “Brown Square” but often switches between the two, sometimes on the same page.

However, don’t let these minor irritations put anyone off reading this book. If you have any interest in the social history of Belfast at all you should read this book.

Available here.

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