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
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