The Irish Issue

IRISH ICONS · genre film · irish representation · and much more inside...

editor’s note Welcome to the Irish Issue!

In our last issue as the 2021/2021 editorial team, we decided to celebrate all things Irish and champion Irish filmmakers, actors and themes. We also sent two of our contributors to this year’s Virgin Media Dublin International Film Festival, giving them the chance to highlight new and emerging Irish filmmakers. Within this coverage you’ll find a review of Is There Anybody Out There?, a documentary made

by Trinity students chronicling their experiences of the COVID-19 pandemic.

We have also included an exclusive interview with producer and TCD lecturer Justin MacGregor about his experience with the project.

This year has been a fantastic one for the magazine, and I have been so privileged to have worked with such a dedicated group. While I’m sad to be saying goodbye to our amazing writers, I can’t wait to see what next year has in store for TFR, and have the utmost faith in the new team and their vision for the magazine. I have learned so

much during my year as editor, and have been consistently inspired, challenged and informed by our contributors and their fresh perspectives.

Goodbye from me!

CONTRIBUTORS Ailbhe Cullen Cathal Eustace Catherine Callahan Cian O’Donohoe Emily Thomas Grace Kenny Hana Rae Quinn Jane Loughman Joey Fanthom Kate Ryan Katie McKenna Lila Funge Luke Bradley Peter Horan Seamus Conlon Sophie Brennan

contents 3 5 7 13 15

the irish in cinema musicals

the commitments sing street

irish icons

nicola coughlan cillian murphy michael fassbender

maureen o’hara

iconic director martin mcdonagh

17 23 27 31 33

vdmiff

be good or be gone a worm in the heart to all my darlings is there anybody out there?

irish horror

the canal extraordinary the hole in the ground

coming of age

dating amber normal people a date for mad mary

myth and magic the secret of kells excalibur

quackser fortune has a cousin in the bronx

This publication is funded partly by The DU Trinity Publica tions Committee.This publication claims no special rights or privileges. All serious complaints may be directed towards chair@trinitypublications.ie or Chair, Trinity Publications, House 6, Trinity College, Dublin 2. Appeals may be directed to the Press Council.

Get involved with Trinity Publications on Facebook, Twitter, and Instagram, or email secretary@trinitypublications.ie

‘It’s only a marginal people who have an identity problem’

states literary theorist Terry Eagleton. In the Western world, however, we are no longer a marginal people. While films like The Quiet Man (John Ford, 1952), Far and Away (Ron Howard, 1992) and Wild Mountain Thyme (John Patrick Shanley, 2020) have all blatantly misrepresented the citizens of Ireland as violent drunks or old-fashioned country bumpkins, we are not persecuted as much as we are inclined to tell ourselves. The Irish diaspora can be found in positions of power

and influence across the globe, yet nonetheless we are prone to ignorantly quoting Jimmy Rabbitte and calling ourselves “The Blacks of Europe”. We have the fourth highest GDP on Earth and still we posit that being a white Irish person is comparable with the experiences of BIPOC. The “no dogs, no blacks, no Irish” mindset quickly became “no dogs, no blacks” as we as a nationality began to make up the majority of the American police force all the way back in the 1800s. Even John Timoney, the inventor of ‘The Miami Model’: a series of techniques used by the US police force to violently suppress large scale protests, was born in Dublin in the 1940s.

Nonetheless, the recent Wild Mountain Thyme, made by Irish-American John Patrick Shanley, features Emily Blunt, Jamie Dornan and Christopher Walken abusing and twisting the Irish accent until it becomes something grotesque. This, coupled with a weak plot and jarringly boring dialogue, makes for a disappointing film that has fallen victim to heaps of negative reviews. Why would the director of Moonstruck (John Patrick Shanley, 1987) (arguably one of the greatest rom-coms of all time) embarrass himself and his impressive cast with such a ridiculous movie?

Why did they decide to dedicate an entire scene to depicting a group of 21st century Irish people standing in awe of a Rolls Royce? Where did this softcore paddywhackery come from in the first place? Are we as a nation responsible for this manipulated idea of Irishness? We send our head of state to the White House every St. Patrick’s day with a gift of Shamrocks. We sent Riverdance to the Eurovision. We invited Barack Obama to drink pints of Guinness in Moneygall and we get Daniel O’Donnell to sing when the Pope comes to visit. This paddywhackery of Irish people is in no way oppressive, it is, in fact, a beast of our own creation.

It is clear that the population of the Republic of Ireland has no grounds to base their arguments for persecution. Despite the fact that the likes of Wild Mountain Thyme are still being made in the 21st century, it is not indicative of where Irish people are situated in the global zeitgeist. Wild Mountain Thyme was no more than a box office flop designed to pander to Irish Americans who long for the Celtic twilight of the motherland.

It’s release roughly coincided with Normal People, which became the most streamed TV

series on BBC in 2020. This clearly indicates that we as a nation can represent ourselves as civilised and literate, an image of Irish nationality that is congruent with the way we are perceived globally.

Ireland is home to masters of poetry, prose, playwriting and performance. With a film scene that is valued at $557.3 million dollars and constantly growing, we are assuredly going to be producing filmmakers at the same caliber of our literary and theatrical icons. As our country moves from the destitution of the early 20th century into the financial excessive early-mid 21st century, our body of art moves with it; concerning itself less with the direct consequences of 800 years of colonisation and more with the indirect ramifications of past oppression. Our cultural export has evolved from musicals about Michael Collins to Normal People’s depiction of a translucent class divide perpetrated by a historically Protestant university. Let us not get hung up on Lenny Abrahamson (who’s oeuvre extends beyond television to must see films: Adam & Paul (2004), Garage (2007), etc).

Read your Wikipedia articles, scrounge the streaming sites and discover the work of the Sheridan family, Nora Twomey, Aisling Walsh and more.

The representation of Irish people in cinema is in our hands now. We have wrestled it from John Ford and John Patrick Shanley and we are sitting upon a goldmine of actors, writers and directors who all have stories to tell.

cathal eustace

5

The Commitments (Alan Parker, 1991) is arguably the closest thing to a ‘classic’ that Irish cinema has to its name, in the sense that it holds a particularly significant status in the nation’s filmic canon. Alongside My Left Foot (Jim Sheridan, 1989), it is also one of two Irish pictures to appear on the BFI’s Top 100 British Films list (Parker was born and raised in London).

confused film, uncertain in its narrative aims.

Despite such unfulfilled ambitions, however, the film maintains a charismatic air of joy, with decent performances and an authentic soundtrack.

The film’s critical reception has been largely positive, especially in Ireland, but many reviews have pointed towards its flaws. Writing for the Chicago Tribune, Gene Siskel puts The film, based on the Roddy Doyle novel it best, describing it as “a joyful but empty of the same name, follows Jimmy Rabbitte mixture of Irish kids and Black American (Robert Arkins) on his quest to manage an soul music.” The film, at least for Irish Irish soul band. This musical comedy-dracinema, is a kind of achievement but, in an ma features an eclectic cast of characters international context, plainly doesn’t hit the and indulges in ‘found-family’ tropes as the mark for its ‘classic’ status. Ireland’s cinebandmates initially struggle to live up to matic peak is (hopefully) yet to come.

Jimmy’s aspirations, before they eventually find harmony and begin a promising musical To lionise The Commitments as a kind of career. cultural giant or revolutionary film, therefore, is misguided. Although it has proved hugely The Commitments makes an honourable popular with Irish audiences, in particular, attempt to pay homage to the soul music its mediocrity should not be misconstrued as of the 1960s but over-extends itself across excellence. musical, comedic, and dramatic genre tropes.

While drawing on contemporaneous nostalgia for the sixties, Parker delivers a tonally

cian o’donohoe

“It’s the perfect mixture of music and visuals,” says Brendan (Jack Reynor) of Duran Duran’s “Rio” music video in John Carney’s 2016 film, Sing Street. The same could be said of Sing Street itself; with a soundtrack made up of Hall & Oates, Motörhead, The Jam, and original feel-good songs, this coming-of-age musical perfectly blends an 80s punk rock sound with a romanticised Dublin.

The charm of Sing Street is in the depiction of 1980s Dublin. While it does show the era’s downsides, such as the toxic masculinity of all boy’s schools and the economic recession, it focuses more on the upsides like the exciting music scene and fashion trends. It’s a pleasure to see familiar spots like Dalkey Island, St. Catherine’s Park, and Dún Laoghaire pier. The way cinematographer Yaron Orback shoots these locations makes one not only look at 80s Dublin through rose-tinted glasses but also feel sentimental about the magic of our capital.

Conor Lawlor (Ferdia Walsh-Peelo) is transferred from his private school to a rough inner-city school on Synge Street (get it?) where, in between facing bullying classmates and strict teachers, he meets the Sing Street’s romanticisation of the mid-80s sophisticated, older Raphina (Lucy Boynton). To and of teenage love does not reduce it to a impress her, he decides to start a band with some of his classmates, taping music videos and playing cheesy nostalgia trip but rather adds to its witty humour and heart-warming tone. The film gigs at school discos. They frequently adapt their allows audiences to walk away feeling a sense image and sound to match their inspirations, veerof hope that isn’t curated, but natural. As we ing from the edginess of The Cure to the preppiness watch Conor and Raphina jet off to achieve of Spandau Ballet. With its heightened sense of retheir dreams, we can’t help but be inspired to ality, Sing Street is characteristic of Carney’s films take control of our own lives and “drive it like like Begin Again (2013) and Once (2007), as Conor you stole it.” transcends his bullies and arguing parents to make a path for himself and “get the girl.”

jane loughman

7

nicola coughlan

Best known for her role as Derry Girls’ (Lisa McGee, 2018-present) wee lesbian Clare Devlin, Nicola Coughlan is a twenty-first century Irish icon. Coughlin began acting on-screen and on the stage at a young age, but Clare Devlin was her breakout on-screen role. Since then, she has made her West End debut and has won main roles in the period drama, Harlots (Alison Newman; Moira Buffini, 2017-19), and in Netflix’s hit series, Bridgerton (Shonda Rhimes, 2020-present). Coughlan is giving what are arguably some of the best comedic and dramatic performances on television today.

Coughlan’s depictions of adolescent girls has established her as an actress with the most respect for and the most hilarious depictions of imperfect young women. The actress plays teenagers so competently that both Derry Girls and Bridgerton’s viewers were shocked to discover that the actress is actually thirty-four-years-old.

Like her Derry Girls co-stars, Nicola’s exaggerated facial expressions render her portrayal of a melodramatic teen convincing and charming.

Without uttering a word, Coughlan can amplify the pure anguish or overwhelming joy experienced by her character with a scowl or a dropping jaw. Clare’s trademark uneasiness is distinguished by her shrill voice and her twitchy head movements. Mastering the hilarious physical expression of heightened teenage emotions, Coughlan is an Irish comedic icon.

However, the actress is also becoming a familiar face in period dramas, such as Hannah Dalton in Harlots and

more recently, as Penelope Featherington in the Netflix hit Bridgerton. These drama series challenge preconceived ideas about women of Regency England and the Georgian era, with a strong emphasis on the complicated relationships between the women depicted. Coughlan’s status as a rising international star has been elevated by her role as Bridgerton’s Penelope, whose best intentions to support her fellow high society misfits are tainted by emotions of jealousy and rejection. Coughlan’s performance in the series’ debut season is so striking that she was recently nominated for a Screen Actors Guild award.

screen in the future. From a country in which our most internally successful actresses rarely receive the same national acclaim as their male counterparts, Coughlan has become a national treasure in a short space of time. Nicola Coughlan is certainly redefining what it means to be an Irish icon.

grace kenny

Coughlan has built a reputation for herself as the star behind many of the most nuanced and captivating female characters we see on television today.

In a recent opinion piece for The Guardian, Coughlan expressed her gratitude for having the opportunity to depict the “complexity and depth of female friendship” in both Derry Girls and Bridgerton. These series prioritise platonic love over romance – a theme that is finding its rightful place to the forefront of today’s television – in very different ways. In the finale of Derry Girls’ first season, Coughlan’s character becomes the emotional glue of her friendship group, as they reunite to support her coming out as a lesbian. In Bridgerton, we see Penelope begin to drift away from her best friend Eloise and into the world of the ton. In both performances, Coughlan achieves the perfect blend of comedy and melodrama.

Coughlan has accomplished so much since her breakout role in 2018 and it is exciting to consider the range of performances she might bring to the

9

cillian murphy

Cillian Murphy has made showings in everything from independent comedy gems to prolific streaming titles.

Being aware of his work in the aggregate is a good way of understanding why his acting is so believable, memorable, and ultimately entertaining. However, looking at some of his notable performances demonstrate his unique qualities as an actor.

Early on in his career, Murphy starred in Intermission (John Crowley, 2003), a delightful Irish comedy about a grocery store employee (Murphy), a small time criminal (Colin Farrell), and a hard boiled Dublin cop (Jerry Lynch). Among its comedic twists and turns, the film explores differing conceptions of love, friendship, and personal value. Murphy’s character, John, is a complete idiot yet also displays the emotional depth needed to drive the film’s nuanced plot. John uniquely subverts the trope of the foolish main character who stumbles into situations and instead manifests them directly. He exhibits a total lack of self awareness throughout the film. John is confused by his relationships, his station in life, and his resulting emotions. Murphy’s performance plays out beautifully on screen in this underappreciated gem of his early career.

The mid-2000’s saw Murphy take the backseat as a supporting actor in Christopher Nolan’s memorable blockbuster titles. During this phase in his career, Murphy exemplified the adage that there are no small roles, only small actors. Nolan’s visually stunning Inception (2010) was fertile

ground for Murphy as a character actor. Passionate scenes bookended Murphy’s acting subtlety in his portrayal of Fischer, a conflicted and passive heir to a massive industrial empire. In The Dark Knight Trilogy (2005-2012), Murphy made appearances as the Scarecrow, who’s grittiness would serve him well in his most iconic role as Tommy Shelby.

Aside from its obvious commercial success in generating Netflix subscriptions and BBC viewers, Peaky Blinders demonstrates its team’s tremendous artistic skill in writing, camera work, and sound design. Of course Cillian Murphy also delivered groundbreaking performances throughout as he lent an angry, chaotic, and disillusioned voice to the silent generation of the Great War. Steven Knight’s interbellum drama draws in the audience with black and white visions of the 1920’s and themes of classic gangster mythos.

Murphy’s exquisite portrayal of a deeply flawed protagonist colors those still frames and sets them in motion as the actor’s depth of presence comes alive on screen. Tommy Shelby is written as an incredibly complex and in many ways contradictory character. Broken by the war and at the same time driven by ambitious dreams and staunch family loyalty, Murphy expresses this inner turmoil in the gruffness of his dialogue, soldierly mannerisms, and the genuine charisma of a magnetic 20’s gang leader. Beset from below by rival gangs and from above by the powers that be, Shelby conquers the world in self defense. Once again, Murphy’s ability to portray a lack of self awareness on screen breathes authenticity into his performance.

The show explores the retention and

use of power at all levels of society.

The plot suggests that those with a level head command respect and control the situation during chaotic times. However, Shelby’s underlying anxieties bleed out in Murphy’s emotive movements, choppy dialogue, and thousand yard stare. His ability to portray Shelby’s publicly stoic facade and private life as a smoldering train wreck, is worthy of much acclaim.

The challenge of historical drama is eliciting credibility with subtle acting performances while avoiding the pitfalls of going overboard or lionizing historical figures. Good actors can build human connections between the audience and events that took place more than a century ago.

As Peaky Blinders draws to a close, Cillian Murphy will continue to deliver stellar performances in the future, using subtlety to express complexity, and providing food for thought to those who appreciate Irish Icons in TV and film.

seamus conlon

11

michael fassbender

Over the past fifteen years or so, Michael Fassbender has built up quite an eclectic and impressive filmography.

Equally comfortable in big budget blockbuster fare and independent, auteur-driven films, he throws himself into every role with a level of intensity and commitment that most actors can only dream of.

Perhaps his most widely known role is that of Erik Lehnsherr (or Magneto) in the rebooted X-Men films. His first film in the franchise – the Matthew Vaughn-directed X-Men: First Class (2011) – is easily the best. Filling the shoes of Ian McKellen – a bona fide screen legend himself – would be a daunting task for any actor but Fassbender manages it, and then some.

Far from being a cheap imitation, he pays respect to the McKellen iteration while also putting his own spin on the character. Fassbender brings a great balance to the performance as a sympathetic villain, and his relationship and superb chemistry with James McAvoy’s Xavier are fundamental to the film’s success. Even when the quality of the films he appears in wanes significantly (Apocalypse (Bryan Singer, 2016) and Dark Phoenix (Simon Kinberg, 2019) are both particularly bad), he still brings the same level of gravitas every single time. Indeed, it speaks a lot to the level of his performance that some fans were hoping to see him reprise the role in Marvel’s WandaVision (Matt Shakman, 2021). Iconic, to say the least.

It is his work with numerous acclaimed directors that has gained him most recognition within the world of film, though. A prime example is his role

as the titular Apple founder in Danny Boyle’s Steve Jobs (2015). Although Fassbender does not look or sound particularly like Jobs, he is extremely credible as the character, imbuing him with just enough humanity beneath a cold exterior. Furthermore, there is his stellar work in fellow Irishman Lenny Abrahamson’s bizarre – yet brilliant – Frank (2014). Playing the eccentric frontman of experimental band Soronprfbs, Fassbender spends almost the entire film wearing a giant papier-mâché head. For many actors, this would be a major hindrance yet Fassbender thrives, using every other part of himself – physicality, tone of voice, etc. – to make up for the fact we cannot see his face. The result is a wonderfully deadpan, but oftentimes tragic, portrayal of a truly unique character.

Of course, his successful collaborations with director Steve McQueen cannot be overlooked. The two men have made three films together, all very challenging – but, equally, rewarding – films. Hunger (2008) marks their first time working together, with Fassbender taking on the role of real-life hunger strike leader Bobby Sands. The film smartly strays away from giving the story the Hollywood treatment, which was commonplace in 90s Irish cinema (In the Name of the Father (Jim Sheridan, 1993) and Michael Collins (Neil Jordan, 1996), for example), instead giving a candid and harrowing depiction of Sands’ physical deterioration. The second half of the film makes for very tough viewing but Fassbender and McQueen make sure never to glamourise Sands – choosing instead to humanise him and his struggle.

Fassbender also appears in McQueen’s Best Picture-winning 12 Years a Slave (2013), as the despicable, sadistic plantation owner, Edwin Epps. Epps is a monstrous character, devoid of any sort of redeeming qualities, with many

of his scenes – especially those with Lupita Nyong’o – difficult to stomach.

Finally, what I think is Fassbender’s best performance (so far), comes in his second collaboration with McQueen in Shame (2011). An unflinching study of sexual addiction, Shame sees Fassbender’s character, Brandon, so crippled by his illness that he is unable to form any kind of emotional connection with anyone. It is a stunning character piece about the destructive effects that addiction can have on a person, with Brandon a mere husk by the end, and Fassbender grounds it with an exceptionally measured performance.

However, what really marks Fassbender out as not only a screen icon but an Irish icon is his role in the classic 2005 Guinness ad, “Quarrel.” Fassbender walks across Ireland, before swimming the Atlantic Ocean so that he can apologise to an old friend he had fallen out with. Though there is a tense moment when he says sorry initially, the two quickly hug it out and settle their differences over a pint of the ‘Black Stuff.’ Michael Fassbender and Guinness. Two indubitable Irish icons.

joey fanthom

13

her dual US citizenship in 1946, O’Hara Hollywood was her stage, but stood her ground and refused to be marked Ireland was her home. Her legacy on the paperwork as English, which she will always be having bolstered argued would have erased her beloved the Irish woman, not just as the heritage for her children and grandchildren dynamic heroines she portrayed, to come. With that, she became the first but as a capable, pioneering, and US citizen to retain her Irish citizenship, timeless career woman. changing the process and ensuring recognition for future Irish immigrants.

Few stars shine so bright - in Ireland and Hollywood alike - as the “Queen of Technicolor,” Maureen O’Hara.

Honoured with her place on the Hollywood Walk of Fame and a Lifetime Achievement Award from the Irish Film and Television Academy, O’Hara has left a transcontinental legacy founded on her pride and feminism as an Irish woman.

O’Hara was born and raised in Ranelagh, Dublin in 1920. She studied at the Abbey Theatre where she was discovered by the famed Charles Laughton at just seventeen years old. With her classical training and soprano singing talents, it is no wonder O’Hara’s career quickly soared, earning starring roles in How Green Was My Valley (John Ford, 1941), The Quiet Man (Ford, 1952), Miracle on 34th Street (George Seaton, 1947), and a slew of action films and Westerns. Her eye-catching features and fiery spirit might have made her an instant classic -- a bastion of passionate and outspoken heroines who put the likes of John Wayne in their place -- but offscreen, O’Hara had to spend her career continually self-advocating to avoid typecast and decorative roles.

O’Hara defined and redefined herself as a proud Irish citizen, her heart always belonging to her favoured West of Ireland. When she gained

She also crystallised her national pride by invoking the Irish language in television and film any chance she could, singing songs, and proclaiming her love of the country unabashedly in interviews. Her fervour to include authentic parts of her culture makes The Quiet Man one of the only major Hollywood pictures to feature the Irish language, a significant platform for Irish heritage accorded thanks to her.

catherine callahan

To make her all the more badass, she is currently receiving due credit for her feminist advocacy in the Golden Age of Hollywood. A recently unearthed letter from 1945 reveals how ahead of her time she was -- or rather, how women of her age did not suffer harassment silently, as is often misconstrued. In the letter, O’Hara calls out sexual predation on the part of directors and their infamous casting couches, acknowledging that she lost out on roles and had been deemed not a woman but “a cold piece of marble statuary” for her refusal to comply with sexual coercion. She was raising her voice in a time when powerful men dominated the industry, when they had all the tools to blacklist and suppress her -- and never forget, she did it over seventy years before Harvey Weinstein faced his reckoning in the #MeToo Movement.

Maureen O’Hara was sure in her identity, her morals, and her rights. Her two pillars of pride -- her Irish citizenship and her womanhood -- helped her carve a seat for the Irish at the Hollywood table and kindled feminist movements decades in the making. Hollywood was her stage, but Ireland was her home. Her legacy will always be having bolstered the Irish woman, not just as the dynamic heroines she portrayed, but as a capable, pioneering, and timeless career woman.

15

Martin McDonagh may have been born in London but, with two Irish parents, his heritage has always informed his work. McDonagh’s father is from Lettermullen, Co. Galway, and small-town Irish relationships have stood at the forefront of his career, both as a playwright and as a filmmaker. This focus on the psychology behind provincial relationships has enriched his films and plays to create complex, provocative and, ultimately, human characters. McDonagh has enjoyed a considerable amount of success in the film industry in the last decade. His 2017 film, Three Billboards Outside Ebbing, Missouri, was nominated for Best Picture at the Academy Awards, with Frances McDormand and Sam Rockwell taking home Best Actress and Best Supporting Actor gongs, respectively.

McDonagh’s works are always rich with dark humour; they balance levity and pain with ease. It is this duality in his films which I will argue has earned McDonagh the status of iconic Irish director, despite only having three feature-length films under his belt thus far: In Bruges (2008), Seven Psychopaths (2012), and the aforementioned Three Billboards.

McDonagh became an overnight success as a playwright in the nineties. Following his newfound fame, he drunkenly insulted Sean Connery, thus rendering McDonagh a somewhat contentious character in the theatre world. Despite the controversy surrounding his decorum, McDonagh took home awards for his plays set in small-town Ireland: The Beauty Queen of Leenane, The Cripple of Innisman, and The Lieutenant of Innismore. McDonagh’s first foray into film came with his short, Six Shooter (2004), which brought him his first Academy Award. The initial short

film involves a train journey, Brendan Gleeson, and murder, and, no, it isn’t Cáca Milis (Jennifer Keegan, 2001).

If you have seen his plays, you know that the dark humour which pervades his filmography is also central to his work in the theatre. It is this line that McDonagh walks upon that delineates his work as Irish and, in my opinion, justifies the writer-director’s title of ‘iconic.’ The skill of balancing the dark with the light is integral to Irishness; it is the reason we look forward to the wake before the funeral.

McDonagh has taken this skill and propelled it into his films to create stories rife with all the despicable parts of humanity -- murder, racism, prejudice, and selfishness -- all while still making us laugh and even empathise with these characters. They are real depictions of humanity -- be it a forceful but fragile mother or an arrogant but remorseful hitman.

McDonagh’s subject matter is never light; his sharp dialogue creates humour and an absurd tone across his films. He always pens his own scripts and the strength of the writing is evident by their dynamic and poignant nature. We begin thinking that we know who the heroes will be but McDonagh’s understanding of humanity subverts this; we finish the film liking -- or, at the very least, pitying -- the characters we thought were irredeemable. These dynamic and multifaceted characters function as the spine of his films.

McDonagh creates roles with specific actors in mind. In this way, he sets himself apart from other filmmakers as he considers the strengths and character of each actor and utilises these to portray fully-developed, captivating individuals. Brendan Gleeson and Colin Farrell are two actors preferred by the director. Not insignificant is the

Irishness of both actors, as they understand the duality and humour being depicted in McDonagh’s films. In an interview given while doing press for Three Billboards, McDonagh asserted that the actors chosen to portray his characters bring truth to the story. He writes his scripts with a clear vision, and his respect for actors allows them to meet both their and the script’s full potential.

Giving advice for aspiring screenwriters and directors in 2017, McDonagh explained that his scripts have been written with great precision and changing even a word with a random last-minute thought will ultimately delegitimise his work. McDonagh takes his role as a director seriously - each word in the story is precious and he insists on managing the film’s direction to the final detail. He is protective of his films; they are meaningful and the audience can sense this dedication.

The care and precision which go into McDonagh’s screenplays and characters have conceived stimulating, intelligent, and evocative films that have earned the director the title of iconic.

McDonagh is an Irish writer; any Irish person would be able to discern this from his sharp dialogue and ability to balance extremes. Ireland is a nation of contradictions, imperfections, and idiosyncrasies. Through his construction of fallible and absurd characters, McDonagh creates stories which not only make for great cinema but also feel distinctly Irish.

ailbhe cullen

be good or be gone

Be Good or Be Gone was my first experience of the Virgin Media Dublin International Film Festival, detailing four days in the lives of two inmates on temporary leave from Mountjoy Prison. The film follows Ste (Les Martin) and Weed (Declan Mills) as they navigate their personal lives, aspirations and the criminal underbelly of Dublin city.

This script was brought to director Cathal Nally by Declan Mills who knew Nally would understand how to make this film.

Writers Les Martin and Paul Murphy had a vision for Be Good Or Be Gone that would consistently be disregarded by previously approached production companies. “They were trying to turn it into a Guy Ritchie movie, which is not what it is, it’s a simple redemption story,” as Nally described to me in a private Q&A.

Throughout Be Good or Be Gone I was struck by subtle moments of reflection dispersed between the narratives’ chaotic mixture of comedy, gratuitous violence, and substance abuse. These small instances were carefully engineered by Nally with assistance from the rest of the cast and crew, which is a manifestation of Nally’s collaborative directing style and inclusive dialogue with cast members: “People are always saying “oh what about the director’s vision”. Fuck that.

Who cares… I prefer to listen to every-

cathal eustace and katie mckenna cover the festival highlights.

body”. This organised communal reflection on Be Good Or Be Gone is responsible for some of my favourite moments in this film, particularly cinematographer Stephen C Walsh’s lingering, reflective close-ups, soaked in a pale light reminiscent of the prison cell to which our lead characters know they must return to.

The stories told whilst traipsing around Dublin city can vary greatly, but through a shared history and sense of place, they tend to complement each other nicely.

From Ulysses to Adam & Paul (Lenny Abrahamson, 2004), the feel of Dublin permeates through the art that it is home to. In Be Good Or Be Gone, the flats of the north inner city often set the stage for Ste and Weed’s lonesome roamings.

Here, they encounter the variety of eccentric characters whose roles tread the line between comedic relief and catalysts for violence. Be Good Or Be Gone intentionally struggles to decide whether it is a crime thriller or a buddy comedy. This lack of generic delineation conflicts with

Nally’s reflective moments and ultimately serves to create a sympathy and respect for the characters.

cathal eustace

19

a worm in the heart

This documentary tracks the journey of a gay Irish couple’s journey along the Trans-Siberian railway.

The filmmakers Paul Rice and Liam Jackson Montgomery meet with members of the LGBTQ+ community in various cities across Russia, staying with them and talking with them about their experiences. The pair had clearly done their research and made an effort to communicate with their interviewees prior to their trip: hidden groups of social workers providing secret mental health support to locals, sisterhoods of trans women who are forced to live together for safety, drag queens in the icy plains of Siberia -- all the while explaining the history of systemic homophobia in Russia.

Sitting down and allowing the horrifying stories of queer Russians to suck me into the disturbingly calm Siberian tundra created a surreal viewing experience. I only paused the film occasionally to register

the scarring retellings of violence against the interviewees, otherwise I watched it all the way through, never leaving the couch- to do so would have felt like I was disregarding the trauma of those being interviewed.

Following the route along the Trans-Siberian railway eastwards, the gradual shift from the more “progressive” cities of St Petersburg and Moscow all the way to the remote Vladivostok creates a simple structure for the audience to follow.

The film is bookended by the couple’s experiences before and after their journey. Prior to their departure we feel as if the pair are venturing into the unknown, almost expecting something awful to befall Paul and Liam as they go from the relative safety of Ireland to the legitimately dangerous climate of Russia. After their journey however we feel as if the pair have become involved members of the Russian LGBTQ+ community.

cathal eustace

to all my darlings

With the likes of Normal People (Lenny Abrahamson, Hettie MacDonald), Wolfwalkers (Tomm Moore, Ross Stewart, 2020) and the upcoming Conversations With Friends, it seems like we are in the midst of an Irish screen renaissance.

It’s refreshing to see Irish culture portrayed so vibrantly and authentically on screen. I find myself wondering: how long can this last?

However, having had the pleasure of watching IADT student Lia Campbell’s short, To All My Darlings, I think my question has been answered.

After another miscarriage, Adaeze (Demi Isaac Oviawe), must break the news of a serious medical diagnosis to her husband, Nonso (Precious Okpaje), in Campbell’s emotional drama. The film is seeping with empathy, thanks primarily to Oviawe’s magnetic performance.

A particular standout is a scene in Adaeze’s garden, where, with absolutely no dialogue, Oviawe

says a huge amount. This character study lives or dies on the lead performance and Oviawe absolutely delivers.

The story does, however, feel somewhat underdeveloped, particularly when examining Adaeze’s relationship with her husband. Near the end of the film, Nonso says, “they’re my kids too.” It feels as if it isn’t just Adaeze who forgets this, but the film as well. Nonso feels like a tacked-on element, neglected until the very end. It’s hard to care about him or his relationship with Adaeze as we’re shown almost none of it. This could be a consequence of the restricted runtime that comes with making a short. However, I feel, the filmmakers chose to develop the world the characters live in at the expense of the heart of the story.

While her film lacks the final emotional pay-off, I believe that Lia Campbell is a filmmaker with a huge amount of promise and I can’t wait to see what she does next.

katie mckenna

21

is there anybody out there?

When we think back on the year 2020, the same thing

comes to mind: the disease that shall not be named. A year of news stories about doctors, Leaving Cert students, and the elderly -- we often forget about the less vocal groups. Vilified on the news as selfish party animals, the media forgets that college students are spending “the best years of their lives” when “they never looked better” indoors. In their film, Is There Anybody Out There?, Trinity’s students explore this.

Told through a series of video diary entries, Is There Anybody Out There? tells us the story of the pandemic as students show us their experiences of it. When I had the opportunity to talk to producer Justin MacGregor about his film, he described it as “a snapshot of another time”, and I couldn’t have described it better myself. It’s stunning how accurately the students captured the transition from the novelty of a two-week quarantine and fun staycations to the dread that comes with being in a tunnel with no light at the end. One of my favourite shorts starts with a group of students deciding to spend the rest of the semester in Kerry. What starts out as a fun holiday-- students going

for walks in the country and playing football on the beach-- abruptly ends with the message “By April, the COVID 19 situation had worsened, and we left Cahersiveen and completed our last assignments at home”: a microcosm of 2020.

The film is hard to watch at times, each filmmaker tells their story with such honesty -- a ‘warts and all’ approach -- that it’s hard not to feel an existential dread while watching. A film that portrays such a traumatic period of time with such authenticity is never easy viewing.

But Is There Anybody Out There? isn’t about dread, or sadness, or tragedy. It’s about triumph. Showing us that, in times of great stress and sadness, we come together to help each other.

Whether it’s the doctor in Peru putting his life on the line to save others or the college student checking on their friends, the film is full of people trying to help. Bursting through the sadness of the film there is hope. Is There Anybody Out There? shows us that we can -- and will -- get through this.

q&a You follow many stories throughout the film, do any of them particularly stand out to you?

Obviously, one of the filmmakers getting COVID and documenting it really stood out. It not only highlighted the way all the filmmakers were so honest about themselves and their situations but it was also a stark reminder of how fragile COVID had made everything and that people we know were, and are, in harm’s way. From the point of view of a documentarian, we live in an age where so much is labelled fake news and some people question what seem to be obvious truths, but the honesty of everyone involved gave an insight into the truth of the collective situation everyone was going through.

Having said that, when we were editing, what really stood out to me was how the stories came together to cover so much territory without it being planned centrally. After all, each of the filmmakers got to choose their own point of view and story. In the end, we had two stories about the situation in Italy, one from inside quarantine in Wuhan, a story of a doctor talking about the meaning of Ramadan in the context of the lockdown, and so many more – as well as all the thematic links about family, friendship, mental health,

technology, the news, being away from home…it was like tapping into the zeitgeist and then being able to edit it together into a story.

Were there any specific challenges you faced making a film in the midst of a pandemic?

There were several. The first was that it might not have worked at all as everyone was working in isolation!

Fortunately, all the filmmakers rose to the occasion and delivered amazing points of views and perspectives on such diverse subject matter despite all the restrictions everyone was under. As they were all working in isolation, this led to very different styles, so then when all these films came in, it was like pieces of a complex puzzle you’ve never seen. The challenge was determining how to bring them together and ensure the fragments made up a whole and that everyone was represented.

But the support of the Festival Director of VMDIFF, Gráinne Humphreys, kept us focused and offered everyone a light at the end of the tunnel. The final challenge was that we were going to move through different documentary modes and needed to make that coherent – all while working remotely. The editor, Andy Wilson, did a great job made even more remarkable given that we have never met in person. That was a first.

How did you decide when the story was complete?

Was there a specific point during the pandemic that helped you decide that the story was complete?

I’m not sure the story is complete. This film feels like a snapshot of another time – the first wave of the pandemic starting to ease and the curve beginning to flatten. Watching it now, in this terrible third wave with vaccination so close and yet so far…there was so much we didn’t know, so many challenges ahead of us. The film ends on an upbeat note, people saying what they are looking forward to. But we’re not there yet, nearly a year later. The film may end, but the pandemic isn’t over.

katie mckenna

23

irish h o r ro

home. Is it all in his head, or are the ghosts of murders past truly haunting his family?

the canal

Sinister and slow burning, Ivan Kavanagh’s The Canal (2014) may be just the film you’re looking for. David (Rupert Evans) and his family move into a historic house by a canal to start a new life. What they are met with, however, is far more ominous than they ever signed up for.

Five years after moving in, David becomes suspicious and believes that his wife, Alice (Hannah Hoekstra), is cheating on him with her co-worker. His suspicion leads him on a downward spiral of hallucinations and paranoia. This is further exacerbated when his film archive company comes across crime scene footage from 1902, which reveals to him horrific murders which once happened in his peaceful family home. Just days after the discovery of this footage, Alice goes missing, with her body later being found in the canal. The rest of the film follows the aftermath of her death as David drags everyone else in his life around claiming that ghosts are infesting his

Kavanagh does an excellent job drawing this question out until the bitter end, with the editing and cinematography playing a significant role as well. Odd, sharp, and seemingly out-ofplace cuts feel reminiscent of the early twentieth-century crime scene clips which David had been archiving. This style proves effective, as viewers are left feeling almost as paranoid as David. We feel completely invested in him and his son, constantly wanting to know if a dark shadowy figure will appear behind them in the hallways or move past their windows at night. While the acting and script are B-level at best, this film is undeniably carried by its gripping plot and interesting editing techniques. If you’re on the hunt for the perfect weekend horror flick, The Canal is definitely worth your time.

lila funge

25

extraordinary

Horror-comedy is an often-attempted subgenre with inconsistent results, but Extra Ordinary (Mike Ahern and Enda Loughman, 2019) sidesteps familiarity with its fresh and funny premise. Set and filmed in Tullamore, Offaly, the film follows Rose Dooley (Maeve Higgins), a young and lonely driving instructor who wants to put her supernatural talents behind her after a dog exorcism gone wrong.

Yes, it’s a mental plot, and it only gets weirder. Enter one-hit-wonder Christian Winter (Will Forte), who’s looking for the perfect candidate for a satanic sacrifice, and the film hits peak-level zaniness.

Extra Ordinary is a consistently unique and hilarious film that perfectly sets up its outlandish premise and grounds it in its cast of believable and charming characters. Higgins is incredibly sweet as Rose and earns great laughs with her informed indifference to all things supernatural.

Barry Ward as Martin Martin (yes, really) shines throughout but especially during possession scenes, where he’s acting for two. As for Forte, any confusion as to why he’s in an indie Irish film about ghosts is immediately dispelled by his wonderfully absurd performance.

Extra Ordinary is a labour of love made by horror fans. While paying tribute to iconic horror classics such as The Exorcist (William Friedkin, 1973), the film pokes fun at the inherently daft concept of ghost-hunting and Satanism. This is where the film’s funniest moments lie: residents insisting that everything is possessed, from their green bins to their stuffed stag heads (the latter of which is more believable than the former), is ceaselessly hysterical.

Co-writer-directors Ahern and Loughman turn in an instant cult classic for Irish cinema. Thanks to its fresh premise, which wears its horror influences on its sleeve, Extra Ordinary is a delightful reminder of the unparalleled style of comedy that Irish film offers up.

Extra Ordinary is available on Netflix.

luke bradley

the hole in the ground

In many horror films, the antagonist

attacks the victim in an especially distressing or physically gruelling way. Good examples of this style are Cure (Kiyoshi Kurosawa, 1997) and It Follows (David Robert Mitchell, 2014). Otherwise, the victim typically undergoes a traumatic psychological or physical transformation and, in turn, becomes the antagonist. If this approach interests you, you may enjoy The Babadook (Jennifer Kent, 2015), The Witch (Robert Eggers, 2009), and 28 Days Later... (Danny Boyle, 2002). The Hole in the Ground (Lee Cronin, 2019) is unique among its genre peers.

The film usurps both narratives

and tells a story in which the object of fear transforms to resemble something not only inconspicuous but unconditionally cherished by the protagonist.

Directed by Dublin native, Cronin, The Hole in the Ground is a modern folk-horror classic and a retelling of the Irish changeling myth. Sarah (Seána Kerslake) moves to a forested town in the Irish countryside with her young son, Chris (James Quinn Markey). As Sarah settles into her new surroundings, she begins to worry that her son has been replaced by a sinister and supernatural entity. Cronin represents Sarah’s fear and anxiety by bleaching the green Irish landscape, creating a feeling of somber dread. Distortion in the environment seems to mirror and reverse the premise of the movie: the creation of a facade of normalcy over a substantive core of evil. Ominous sound design usurps horror tropes by failing to accentuate jump scares and, instead, focusing on narrative lulls - reminding the audience that dark forces are at play elsewhere.

Cronin subtly hints that the tension in the film is perhaps imagined by the protagonist: a woman who suffers from a traumatic past and spends the first 15 minutes of the film chipping away antique (probably mercury-laden) wallpaper from the walls of her new home. The illusory film leaves its narrative validity inconclusive, allowing the audience to guess whether the events they have witnessed were real, partially imagined, or entirely constructed from the mind of a deeply traumatised woman.

seamus conlon

27

dating amber

Kildare, 1995. Eddie (Fionn O’Shea) and Amber (Lola Petticrew) are in the closet and barely flying under the radar. To quash the rumours circulating around their secondary school about their respective sexualities, they agree to fake a straight relationship and pose as each other’s ‘beards.’ While Amber dreams of escape to a liberal London, Eddie’s life is dominated by his goal of joining the military – the ultimate pillar of heterosexuality in his eyes. Anxious Eddie and brash Amber are framed as polar opposites, with only

their hidden sexual orientations and troubled home lives in common. This dichotomy is cleverly offset by the film’s costume design – our queer leads are united in the shared tones of teal, burgundy, and mustard that they sport for close to the entirety of the film.

You might think such a novel subject matter guarantees a certain level of originality but, unfortunately, this is not the case. The character of Amber borders dangerously on caricature, with the lack of nuance in Petticrew’s performance not helping matters.

What’s more, Dating Amber (David Freyne, 2020) regularly sacrifices its charming Irish wit for Hollywood clichés that are saccharine at best and plain boring at worst, making for a slightly jarring watch.

With that being said, it is

undeniable that Eddie and Amber’s platonic love story is screen-worthy. Before the tug of war between sexual expression and repression forces the relationship to its climax, the humour of their situation is fully exploited, with most of the film’s comic relief coming courtesy of well-written one-liners, sexual gags, and a strong supporting cast. Between the laughs, ever-relevant themes of toxic masculinity and internalised homophobia are explored incisively; this rom-com goes above and beyond the genre requirements. Dating Amber is far from flawless, but its dual portrayal of queerness and coming-of-age in rural Ireland proves to be as entertaining as it is overdue.

hana rae quinn

Normal People (Lenny Abrahamson and Hettie Macdonald, 2020) is the story of Marianne (Daisy Edgar-Jones) and Connell (Paul Mescal), tracking their relationship from their final year of secondary school in a small town in Sligo through to their university life at Trinity College in Dublin. Going to college in Trinity and being from Sligo myself, I feel very strongly about how much I love both Sally Rooney’s source novel and its TV adaptation. Particularly impressive is the material’s ability to be very specific and true when depicting different facets of modern life in Ireland while still creating a universal story that resonates globally.

Although it is dealt with more explicitly in the book, the adaptation still explores the issue of classism in Ireland. In this regard, Normal People realistically portrays the difference in attitude towards class in rural Ireland and Dublin. While classism is still rife in rural Ireland, it is not as stark and central to life as it is in the capital. The secondary students’ view of Marianne as a snob due to her combative attitude is reinforced by her wealth. Because the town of Carricklea is portrayed as working class, Connell is easily accepted by his classmates. In Trinity, however, this dynamic is completely reversed. While some view Marianne as fitting into Trinity life due to her intelligence

finally being appreciated, it is clear that class plays a huge role in this.

Despite the evidence that Connell and Marianne are equally intelligent, the former is often regarded as stupid by the latter’s friends.

Connell doesn’t have the right accent, the inherited townhouse, or the upper-middle-class confidence to freely offer up his opinion.

Marianne, on the other hand, does.

Though her upbringing lacks the love that Connell’s has, her wealth allows her to succeed in a society that values markers of class more than it wants to admit. Moving from a relatively class-neutral setting to one that places so much importance on it can be incredibly unbalancing. One of the most peculiar aspects to life in Trinity is how often people ask about which secondary school you attended. It does not take long to realise that it’s a way to inquire about class.

While Normal People was very much an international sensation, its specificity is what endeared it to Irish viewers.

Adapting Normal People to screen was not an inevitable success. In fact, considering the novel’s style, it could easily have fallen apart.

The plot of the book does not chart a particularly dramatic sequence of events but, rather, centres on points in time which illustrate the complex nature of an intense romantic relationship. It is heavily reliant on the internal thoughts of both lead characters and how

they interpret (and misinterpret) the other’s feelings. I have never before watched a show that makes such potent use of silence. What is left unsaid is often as important if not more - than what is. A more on-the-nose adaptation might have used monologues or long-winded speeches to sum up the internal feelings described in the book. Instead, Abrahamson and Macdonald use an intimate, mood-driven style of direction to capture the internal drama. This approach means that the directors must put a lot of trust in their actors and, here, both Mescal and Edgar-Jones shine.

Mescal’s performance is especially breathtaking, capturing both the pervasive insecurity and emotional stuntedness that often afflicts young Irish men. Coming from the same county as his character, I was struck by how real he felt; he could easily have been from my class in secondary school.

Normal People simmers with sexiness and raw intimacy, creating a love story that is simultaneously realistic and aspirational, heart-warming and heartbreaking.

It is one of the best pieces of Irish media to emerge this decade and perfectly appeals to both international and Irish audiences.

kate ryan

29

a date for mad mary Isolation is a familiar feeling to most young teens. I remember praying that somebody else felt the same as me in my early secondary school years. Growing up gay in rural Ireland, I could never find anyone else like me and had to turn to TV and film in search of a reflection of myself. Everything I ended up watching, however, was about American teenagers; they scratched the surface of my emotions but I always felt a degree of inauthenticity while watching. They were talking about someone similar to me but they didn’t truly get me. That is, until one day, when I was scrolling through YouTube and stumbled upon the trailer for an upcoming Irish film, A Date for Mad Mary (Darren Thornton, 2016). I was mesmerised, begging my dad to drive me to the closest cinema showing it - 90 minutes away. When I left the cinema 82 minutes after that, I felt something I never had before after watching a film: I felt understood.

In the film, Mary McArdle (Seána Kerslake) returns home to Drogheda after a short stint in prison and must find a date for her best friend’s (Charleigh Bailey) wedding. A simple plot with strong rom-com DNA but director/co-writer Thornton takes the plot in an unexpected direction as we follow Mary in her wickedly funny and surprisingly moving journey towards self-acceptance.

Throughout the film, we see something eating Mary alive: an anger that slowly destroys every aspect of her life. An anger that I also felt; we were both dealt a hand of cards that we couldn’t play and forced to deal with it. As Adrienne Rich once said, “a life I didn’t choose chose me.” Finally, I had found someone who felt the same as me and it was amazing. There have been other Irish films exploring sexuality but

none are quite like Mad Mary.

Unlike films such as Handsome Devil (John Butler, 2016), Mad Mary is intrinsically Irish -- it could not be set anywhere else. Often Irish movies sell themselves short in an attempt to appeal to international audiences but, as Normal People (Lenny Abrahamson and Hettie Macdonald, 2020) shows, weaving Irish identity into a film or TV series gives it an authenticity with which everyone - regardless of nationality - can connect. Seeing Mary working in a chipper I could’ve gone to after a night out, or walking streets that I had walked, it showed me there were people like me, people who did the same things I did, and felt the same way I felt. It was refreshing to see a truly Irish film at a time when they were few and far between.

It’s a shame that A Date for Mad Mary never had the success of other Irish movies. Like many small, homegrown films, it didn’t get the wide release or publicity it deserved so, despite an array of positive reviews, it fell disappointingly under the radar. In spite of this, I do believe that it has cult-classic potential. I’ve returned to this film since I’ve lost my anger and accepted myself and it never feels stale; I find myself relating to new parts of the film and laughing at the jokes like it’s the first time I’ve seen it. So, if you haven’t already, I urge you to watch this future Irish classic.

katie mckenna

31

the secret of kells

Chronicling the creation of an ornate sacred text in a medieval monastery, The Secret of Kells (Tomm Moore and Nora Twomey, 2009) hardly boasts the likeliest premise for a family-friendly, animated film. Its flat, hand-drawn aesthetic, brushed in rich golds and greens and patterned with swirling knotwork, draws more on the paintings of Gustav Klimt than on the CGI-heavy blockbusters of Pixar and DreamWorks. With its playful blend of Irish history and Celtic mythology, however, this Cartoon Saloon-produced film is not only visually sumptuous but narratively engaging too; creating a story with ample appeal for children and adults alike.

Set in the 9th century, it follows Brendan (Evan McGuire), the youngest and most adventurous monk in the Abbey of Kells, whose propensity for mischief frequently attracts the ire of his uncle, Abbot Cellach (Brendan Gleeson). As his uncle becomes increasingly nervous about an impending Viking invasion, Brendan is inspired by the newly-arrived Brother Aidan (Mick Lally) to aid in the creation of the splendidly-colourful Book of Kells, eventually encountering mystical fairies and nefarious deities while doing so. Although certain characters are sketched thinly, the economy of the storytelling and the ingenuity of the visuals ensure that the film canters along its breezy, 71-minute runtime.

With its distinctive animation, fantastical elements, and tendency to focus on plucky, young protagonists struggling against an adult world, comparisons between Cartoon Saloon and Japan’s Studio Ghibli are easily forthcoming.

Indeed, The Secret of Kells shares certain tonal and thematic concerns with films like My Neighbour Totoro (Hayao Miyazaki, 1988) and The Tale of the Princess Kaguya (Isao Takahata, 2013).

By specifically drawing on Celtic history and artwork, however, with an animation

style inspired by the pages of the Book of Kells itself, the Kilkenny-based studio has created a unique aesthetic which feels resolutely Irish while still remaining universal – a point perhaps emphasised by their collaboration with animators from Belgium, France, Hungary, and Brazil on this film alone.

peter horan

excalibur

During the filming of Excalibur (John Boorman, 1981) Liam Neeson was approached by an Irish man who pulled out a fistful of notes to prove he was interested in buying his horse. Neeson declined this offer but, good karma did come this film’s way. Excalibur opened at number one in the US grossing $34,967,437 which launched Hollywood careers for the film’s Irish actors. This success was despite Excalibur’s mysterious casting; unknown faces and Boorman’s own family, making this film one unique to Hollywood.

Excalibur tells the legendary tale of its bearer, King Arthur. Near death Uther Pendragon (Gabriel Byrne) buried his sword in a stone to be drawn by the next King of England. This was his illegitimate son, Arthur (Nigel Terry) who is

guided throughout this film by the wizard Merlin (Nicol Williamson). Merlin prophesizes Arthur’s fall from grace when he marries Guinevere (Cheri Lunghi). Arthur’s blind affection combined with Lancelot’(Nicholas Clay)’s rousing jealously fulfils Merlin’s prophecy. One night Arthur’s cunning half-sister, Morgana (Helen Mirren) coerces him in a ploy which has allusions to the medieval poem Sir Gawain and the Green Knight. This night leaves Arthur with a son who would plague him until the final battle. Arthur attempts to restore his fallen Kingdom by sending his knights of the round table on a quest for The Holy Grail. The greatness of Excalibur’s all-encompassing Arthurian plot meant thirty five year old Nigel Terry plays King Arthur from his teens until his aged death, thanks to the magic of costume.

Excalibur was filmed entirely on location in Irish settings- Powerscourt Waterfall, Wicklow Head, Kerry Coast, Childers Wood and Cahir Castle, Tipperary. Ireland’s scenery is what made it possible for this film to appear full of medieval divinity despite the lack of CGI. Ireland’s rainy forecast shot most of the film in dull light whilst also nourishing lush foliage. The scenes featuring Excalibur and the forest were backlit by green lights to leave a magical impression.

This film’s representation of Ireland may have surpassed the medium of Hollywood’s screen. The scene before the final battle where Arthur’s knights are positioned in a Stonehenge like formation on a hill was interrupted by some Americans sightseeing around Ireland. Boorman had to explain to them that the knights were part of a movie set but, I like to believe they thought otherwise…

sophie brennan

33

Quackser Fortune has a Cousin in the Bronx (Waris Hussein, 1970) follows Quackser Fortune (Gene Wilder), a horse manure collector, whose job is in jeopardy following an announcement that all horse drawn carts in Dublin are to be replaced by cars. Along comes Zazel (Margot Kidder), an American student studying at Trinity, who promises to pull Quackser out of his stubborn Irish ways and into the modern world.

Quackser, however, is particularly reluctant to oblige.

This dichotomy between the modern world of America and an antiquated Ireland is the thematic undercurrent of the film, and is, at times, detrimental to its portrayal of the Irish.

Quackser is portrayed as stubborn and uneducated, with Wilder’s patchy accent (often disguised by speaking through a mouthful of food) verging on mocking. Zazel drives a suave red sports car and educates Quackser about the city he grew up in, comparing it to sophisticated areas of New York where horses are no longer used for transport. However, Wilder brings his characteristic gentle humour to his role and embodies the clumsy charm that came to be associated with his acting, resulting in some genuinely witty moments peppered throughout. This unique comic style would be solidified upon the release of Mel Brooks’ Blazing Saddles and Young Frankenstein in 1974, awarding Wilder widespread recognition as an actor.

The film is grounded by its supporting characters, who are all Irish, and Quackser’s interactions with his despairing mother and father add a humorous, authentic touch.

Furthermore, it deserves to be seen if only for the stunning settings: by far the most striking element, they result in a film that stands as an ode to Dublin and an advert for its beautiful surroundings. Dublin City landmarks feature heavily: there are many recognizable shots of Trinity College and its surrounding areas. In one scene, Quackser visits Zazel in her dorm room, and runs excitedly up the endless stairs of what looks like House Six. Quackser Fortune may ultimately be nothing more than a puzzling bundle of stereotypes, but Wilder’s enduring charm and the beautiful setting make it certainly worth the watch.

emily thomas

35