Films set in Ireland

While some could argue that it makes the odd concession in its representation of the troubles for a foreign audience, no one can deny that this is an evocative and exciting piece of work, with a moving (at times electrifying) dynamic between father and son at its heart.

A cynical little man on my left shoulder tells me it is a bit Hollywoodised, a saintly little man on my right says Mr. Sheridan should be commended for the balancing act he has pulled off here. The director has put together an engaging feature that deals with an important issue in a manner that appeals to the intelligence of both mainstream and indie audiences. All this and without politicising the subject matter. Well, for the most part anyway.

It doesn't offend British sensibilities (bar the most blindly conservative) and I can imagine Irish Republicans walking away from this thinking it does a fine job portraying the IRA, represented for the most part by Don Bakers terrorist. He is shown as the calm and dedicated mercenary type, who blows up Guilford Pub, threatens a prisoner with the death of his family, and sets a Prison officer on fire with hard nosed efficiency. Only because he's 'carryin out orders,' you understand. Hmm, theres enough wiggle room here to see him as either a monster or a resolute fighter for his cause.

It's from here that one could interpret the film as tipping more towards republican favour, because of the added impetus of the subject matter, a justifably passionate criticism of a British institution. But such bias feels unintentional. The film does its level best to remain neutral politically, it seems.

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What truly impresses is the progression of Gerry and Giuseppe Conlon's relationship as they share a prison cell. It is funny that what feels like the most poignant/human aspect of the story, is in fact the main fictional element (they were never held in the same prison.) Dramatic license never felt so real, or so prosperous.

Daniel Day Lewis is... well you can guess, he's brilliant as usual.
This is actually my favorite of his performances. He's just totally natural here, supplying an energetic impression of troubled youth, dialogue sputtering from his lips as if they were always his.
He is shockingly convincing as a teenager even though he was in his 30s when he took on the role.

Postlethwaite is also pitch perfect, injecting a character who is initially percieved to be somewhat pathetic (worn down by the world around him) with a quiet strength and dignity.

The writing of their scenes together is excellent. The acting in their scenes together is excellent.

Putting aside the queasy sense that this is a Bono and Sinead o'connor endorsed version of 'reality,' the whole thing is truly quite remarkable in its ability to absorb the viewer, pushing all the right buttons.

Well worth a look.

King Lear in a bog. But better then that sounds.

Based on the stage play of the same name, itself inspired by real events that took place in Kerry in 1959, the film has pretty firm parochial roots. Its also buttered up by a presentation that is occasionally too 'Oirish' for its own good.

There is a feeling of archaic-ness, that it glosses over something with its theatrical representation of country folk, but still, it has some powerful moments, usually when the Bull McCabe is onscreen.

Richard Harris gives a towering performance as Bull (garnering his second and final oscar nomination) and John Hurt is barely recognisable (in a good way) as 'Bird' O'Donnell.

An improvement on the play as well.

P.s. If Roger Ebert ever stumbles upon this, Sean Beans character is spelt 'Tadhg,' and he isn't meant to be retarded. hohoho

Pat Shortt is excellent.
Whether intended or not, his performance evokes something authenticly Irish, which is a rare enough occurrance in Irish cinema.

Josie's awkward behaviour is suffused with country theatricality and a benign lonely gaze. Shortt's performance manages to be both slightly stylised (rooted in a traditional Irish acting style) and very real.

The film itself is promising for Irish cinema, but its not perfect, and you feel the length of it.

I'm starting to think that the best films about Ireland are now situated in a spectrum of 2 extremes. The first and most obvious extreme is the 'Oirish' factor, grounded in a self obsessed (and finacially obsessed) desire to give purpose for our state of being by romanticising our cultural significance. This is pretty much anything that makes concessions in its representation for a foreign/american audience (see darby O'Gill, the Quiet man, right up through to The field, michael collins, the commitments) and anything that makes concessions for ourselves, to make us feel someway normal and culturally on par with the outside world and whatever they think deep and meaningful (The front line, Goldfish memories, Once.)

The other extreme, which feels like a relatively new proposition, we'll call the 'Beckett' factor, so painfully deformed is an Irish frame of mind that a simple cassavetes style inhabiting/celebaration is not really viable (unless you're David Lynch,) you have to exclude yourself from that possibility and present the subject in a searing 'outside looking in' manner that feels quite alien, stylised and informed. This extreme is still in its infancy in cinematic terms, but for the moment at least, Lenny Abrahamson is the king of it.

p.s. To the reviewer at empire magazine who poopooed the final image of the film, of course it could be construed as silly on paper, but this is cinema. If you take it on the feeling of the ambigious image alone, it is very moving.

one of the better films to come out of the 'Celtic Tiger' period, but, yunno, its still only alright.
Its never boring anyway.

Engaging, with a very likable performance from Albert Sharpe as Darby. The special effects are pretty seamless as well.
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Of all the films made about Ireland, this has to be the most honest...
...At least it lets you know you're being bullshitted.

This is a hard one to call. OK, first, the good stuff.

This is an exceptionally well made film. It has recieved a mixed reception in some quarters. I will assume it has something to do with its controversial subject matter - which perhaps is a tad unfair as it is historically accurate - and a finale which some argue descends into moving but slightly benign and closed martyr centric iconography - which is a far more valid point. I can see why people have such criticisms, but to be honest I cannot fully endorse them, mainly because the film is just so plainly overwhelming. Exceptionally acted, exceptionally shot and put together, it is an incredibly immersive, cinematic experience. It was one of the few films that i have actually sat, after the end credits started to roll, in the darkness of the cinema, totally bowled over by the whole experience. The second best film of 2008 in my book (the best being There will be Blood.) The fact that it has been relatively ignored during the awards season is a travesty, especially when far less daring and affecting films such as milk, frost/nixon and yes, even slumdog millionaire are getting acknowledged. I am willing to say it if no one else will, they are all not as good as this film.

Ok, now the bad stuff.

There is a troubling element in its representation of the IRA. The films grounded depiction of the prison guard, while thoroughly credible and welcome, presents itself more as a token nod for the sake of balance, and is quickly forgotten as the emphasis is put on Bobby Sands in the final 2 thirds of the film. Whether intended or not, you can't help but admire the determination and presence that defines Bobby Sands character in this film. In extension, (and perhaps due to the way Bobby is presented to us in the 'dialogue' scene) you can't help but sympathise with the politically charged ideals which characterise this determination. For me at least, the way my empathy was elicited, along with the power of the film, led to a personal 'condoning' of the terrorist organisation he was apart of. If you're not an Irish republican, or if you previously had no time for noxious republican brain chatter, this of course is quite troubling.

If you are like me, such empathy will provoke much internal debate as to the official perceptions of the troubles in my country (Republic of Ireland,) as well as the violent origins of the Irish free state and the south's official attitudes toward the old and new IRA.

It will also provoke much thought as to the merits of the powerful cinematic image, in light of the 'truth' it imposes on the viewer.

If it wasn't for that queasy last point, I would have given the film another half a star at least.

This is a comedy crime, thing, set in midlands Ireland, starring Brendan Gleeson (of Harry Potter and 'in Bruges' fame.) It was made in the mid-nineties.

Its a departure from the typical Irish films of the time in that it doesn't make any attempt to be overtly 'Oirish' or try to bound itself up in some typical heavyhanded sense of Irish identity. its just a straightforward crime comedy thing, made wherever it was made.
The film is also different from the Irish homegrown films of the period in that its not total sh*t. Its pretty sophisticated actually.
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I Went Down is noticeably well written and acted, with the director bringing a nicely judged tone to the piece that is never too loud in its pretensions (you can sense a sliver of the hip tarantino-esque crime movies of the mid 90s permeating its vision.) Unfortunately the film is a bit too sparse for its own good.

Its actually a strange experience, as you enjoy the company of these characters (particularly Brendan Gleeson's Bubbles, who comes out with some great lines) but you also get kinda bored after a while.