SAS Rogue Heroes ‘is not a history lesson – that would be unwatchable’ says author

As a historian who has delved deep into the lives of these extraordinary individuals, it is both awe-inspiring and heartbreaking to witness the portrayal of the SAS in “SAS Rogue Heroes“. The series, under the skillful pen of screenwriter Steven Knight, does an exceptional job of capturing the raw, human emotion that lies beneath the uniforms and balaclavas.

Among the most peculiar tales from the past fifty years is the transformation of a clandestine organization into a worldwide entertainment empire. The second season of SAS Rogue Heroes, inspired by Ben Macintyre’s book chronicling British special operations during World War II, adds fuel to an already thriving genre.

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Macintyre expresses amazement, stating, “It’s truly remarkable,” he says. However, as the regular historian of the regiment, he ponders about how the unnamed soldiers might feel about their potential BAFTA and Olivier nominations instead of a Victoria Cross. “I wouldn’t dare speak for all SAS members,” he qualifies, “but I do know that the Regimental Association has found ‘SAS Rogue Heroes’ exceptional. And I believe they appreciate the way it portrays their past.

It seems, albeit speculatively, that they might find the ‘Who Dares Wins – How Butch Are You’ concept less appealing due to its simplicity. However, consider this: since 1980, the SAS has faced a constant struggle between their celebrity status and the necessity for secrecy. The public’s craving for stories about the SAS clashes with the requirement to keep their operations hidden. I find this delicate balance, which has grown increasingly complex over time, to be absolutely captivating.

1980 marks an exact timeline for this apparent contradiction. Specifically, it was on May 5th of that year when regular UK TV programming was halted to air live footage of SAS soldiers descending ropes into the Iranian embassy in west London. Their objective was to rescue 25 hostages (one had been tragically killed a day prior), who had been held captive by armed men for six days. The intriguing paradox presented by Operation Nimrod, a covert operation televised live, is the focus of Macintyre’s latest book, “The Siege”. Interestingly, the screen rights for this book have been acquired by Slow Horses productions.

As I delved into The Siege, a fascinating discovery emerged: in 1980, the Special Air Service (SAS) was virtually unheard of, shrouded in secrecy as an almost entirely covert unit. Before this year, they were operating stealthily; afterwards, they transformed into the globally recognized elite soldiers! Some within the regiment still believe that this cloak-and-dagger existence did more harm than good, making it increasingly challenging to carry out special operations when all eyes are upon you.

As a movie enthusiast who’s watched SAS Rogue Heroes, it’s clear that the early special services sometimes employed stealth to carry out acts like murder, theft, torture, arson, and other actions that skirted the Geneva Convention. In season two, writer Steven Knight portrays characters like Paddy Mayne (Jack O’Connell) and David Stirling (Connor Swindells) engaging in activities that would later spark intense public scrutiny for decades. But as I ponder on this, it’s hard not to wonder if ethical dilemmas were ever a concern back then?

While investigating ‘Rogue Heroes’, Macintyre uncovered a letter penned by David Stirling, which detailed actions taken by Paddy Mayne during attacks on Libyan airfields, specifically the scene in the initial series where Mayne storms into a mess and indiscriminately fires upon Italian and German pilots who were celebrating. This event troubled Stirling significantly post-war, but there was no thought of initiating an investigation or any similar action during that time. Instead, there was a strong mentality that a war was ongoing.

In my humble opinion as a film critic, the progression from Operation Mincemeat to SAS Rogue Heroes and culminating in The Siege showcases the audacious ingenuity of their strategies. It’s almost as if the enemy was playing a game they couldn’t possibly predict – deceiving them with a corpse in the sea, attempting a daring prison break, or dropping men from rooftops into high-risk hostage situations. The British special forces, both then and now, I firmly believe, have been underestimated for the intellect hidden beneath their balaclavas. They are often portrayed as swift, brutal, and trigger-happy, but let me tell you, a significant part of what they do is more about thinking outside the box – a form of mental agility that Winston Churchill once described as ‘corkscrew thinking’.

Had they not been capable of adapting swiftly to an unforeseen and dynamic situation within the building they encountered, their mission would have likely ended disastrously. They are a military team, but they also excel at outsmarting their opponents’ strategies. The common thread in their successes during the desert campaign in 1942, moving through Italy, and even at the Iranian embassy was their ability to adapt to evolving circumstances. Fundamentally, this unit is as much psychological as it is military.

As a movie reviewer, I must say that when adapting a single source book for a second series, as is the case with Knight’s SAS Rogue Heroes, the adapter often needs to get creative. However, in this instance, the creator, Steven Macintyre, chose to focus on expanding the emotional narrative of the Libyan campaign for series two. He developed characters further and introduced additional scenarios, but he also made sure to preserve the historical authenticity.

“Unlike other fact-based dramas that often start with disclaimers about fictional scenes and characters, SAS Rogue Heroes stands out by explicitly stating, ‘This isn’t a history lesson.’

Macintyre expresses gratitude: “Thank goodness!” he exclaims. “It would be impossible to watch if it were otherwise!” The disclaimer indicates that any submissions suggesting changes to the characters’ heights or facial hair, such as someone being shorter than depicted or someone not having a mustache, are discouraged.

“There are many different ways of looking at a historical story. You can be entirely faithful or you can say we are going to treat the period as a scene and create drama within it. Or you can take the Guy Ritchie approach, as in The Ministry of Ungentlemanly Warfare, which is a great shoot-’em-up movie but its relation to history is minimal. He takes events and creates a Guy Ritchie movie out of them. That’s great if it’s what people want. And, if viewers want to know what really happened, the books are there.”

In his television programs, Macintyre often holds the title of “executive producer,” which, as he explains, encompasses a range of roles from hands-on production to simply providing compliments on the costumes. His specific responsibilities fall somewhere within this spectrum and he frequently consults with Knight during the creative process. Typically, they hold an initial meeting where Macintyre outlines the storyline. Following that, I receive scripts and offer a few suggestions.

Wow, at one instance, I recall a Scotsman crooning “The Fields of Athenry,” an Irish tune. Beyond that, there haven’t been many disputes in the narrative. It’s not my place as a historian to critique adaptations of my work into different art forms. Truth be told, I’m simply awestruck by screenwriters; it’s astonishing how they condense complex ideas into just a few words, something that took me pages to explain.

It’s evident from watching SAS Rogue Heroes and learning about their later lives that several of these men may have suffered from untreated Post-Traumatic Stress Disorder (PTSD). As Macintyre points out, none of them received any form of treatment for their issues. This is quite surprising. One of the most poignant aspects of writing SAS Rogue Heroes was receiving letters from relatives of former special forces members who served during the war. These family members expressed gratitude for my explanation as to why their loved one behaved in certain ways – excessive drinking, aggression, and an inability to settle down. These behaviors are all indicative of PTSD. Furthermore, not being able to discuss their experiences due to the Official Secrets Act likely exacerbated their symptoms.

While the show suggests the emotional turmoil experienced by the soldiers, there’s been debate over whether SAS Rogue Heroes glorifies military conflict. However, Macintyre emphasizes that he was cautious about this in his book and believes that the series follows suit. He explains, “These characters are troubled individuals who are forced to carry out horrific acts. Without revealing too much, a significant part of season two delves into the emotional toll of having to leave people behind during warfare.

Indeed, there’s a thrilling soundtrack and scenes full of suspense. However, it’s important to note that this isn’t a movie where the Nazis are indiscriminately attacked and then everyone heads to a pub for a drink afterwards. A more accurate description of Guy Ritchie’s film ‘SAS Rogue Heroes’ might be one that focuses on the intense operations, rather than any celebratory pub scenes.

Is it acceptable if the show sparks interest in joining the SAS, suggesting one could just step into a dangerous situation with a machine gun like in the 1940s? No, that’s not desirable.

The 1980 siege sparked a significant increase in enlistment, as individuals eagerly declared, “I want a balaclava and a gun.” However, that’s not what you’d prefer, I assume. Yet, we require an army, and the SAS story has proven to be an exceptional tool for recruiting soldiers and boosting the British Army’s global image.

Those who enjoy the SAS spin-off series might fantasize about the moment when Ben Macintyre, himself, becomes a contestant on SAS: Who Dares Wins. Has he been approached and would he accept? “Hah! I haven’t been asked and I think no one in their right mind would want me. So, let’s deal with that obstacle when we reach it. I highly doubt that will ever happen. But it would be a fascinating closure to the story. What an intriguing idea!

On New Year’s Day at 9pm, SAS Rogue Heroes season 2 premieres on BBC One. The entire second season can be streamed starting from 6am on BBC iPlayer. If you haven’t seen it yet, season 1 is currently available on BBC iPlayer.

If you’re seeking additional content to stream, check out our TV Schedule or browse our Drama section for further options. For more engaging stories about popular TV personalities, tune into The TopMob Podcast.

2024-12-10 15:04

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