Irish Reflections- Film and Art

Three Irish Movies- An impression- Brian Keeler

On the gritty historical realism, pathos and depth in Irish cinema- 

Preface- As Saint Patrick's is day is coming up in March, this seems like a good time to reflect on some things from the Emerald Isle. This essay was written in November 2024 just after seeing the first film considered here, Small Things Like These. In the interim, I picked up the novel that the movie is based on in a bookstore in Saratoga Springs, NY. The novel of the same name, by Claire Keegan is a short but pithy text chronicling the life of a coal delivery man. The movie by Tim Melantis does an excellent job of visualizing the written word. Still, reading the text after seeing Melantis' interpretion adds nuance and depth to the drama.

Above - a large oil of Ireland by the author. "First Light, County Kerry, Dingle Peninsual" is a 36" x 46" oil on canvas.

  Small Things Like These

A study in quiet courage of a working-class Irish family is one way the film, “Small Things Like These”- showing in the theaters this past fall, could be characterized.  The film, starring Cillian Murphy (of the recent movie, Oppenheimer) is supposedly set in 1985 and it interprets the intertwined lives in an Irish city in the southwest – perhaps Cork or Dingle judging by the hilly terrain. 

We saw the film at a theatre in Charlottesville, VA in November and it turned out to be a great choice. The selection was narrowed between this movie and the new Gladiator II.  As the previous Ridley Scott film has been enjoyed since its release it was considered.  But the over-the-top gratuitous slaughter in ancient Rome’s coliseum was dissuading.  So we opted for this portrayal of the common life of recent history. 

I thought the era portrayed to be from a much earlier time than mid-1980's. The vehicles, the lighting and feel, even the clothing to a certain extent seemed to indicate a period piece of a bygone era well before the 80's. The film portrayed a timeless era and rather open but vaguely suggestive of a previous period.

The feel from the opening vignettes on a dark day, with ominous crows portrayed in near black and white sets the tone of this film centered around a coal delivery man. He uncovers the abuse related to teen pregnancies in the church-led Magdelene laundries. There are glimpses of the harsh living conditions inside the laundry as young women are kept in thrall that undoubtedly influence his decision at the conclusion. In the book and the film as well there are dramatic scenes where one of the women implore Furlong (the lead character) to please help them by assisting in their escape.

A profile in courage is indeed the takeaway of this film. The quiet determination of one man in the face of overwhelming pressure from family, church, and townsfolk is notable.  Murphy’s character, Bill Furlong rises to the occasion against all odds to save one of the girls who is being abused within the orphanage. There will be no spoiler alert here, as I will not reveal all the plot. Nonetheless, the screenplay is highly emotive and affecting. And Murphy’s acting of an introspective character is notable.  The compassion and kindness he asserts is memorable. Even his wife dissuades his concern for the evil being perpetrated in the convent and advises against his intentions to intervene. She downplays the suspected deeds of the nuns while arguing for their own family's security.

There are several scenes that indicate the poverty and hard-scrabble existence which would also suggest an earlier time.  We recall Ireland’s history of the potato blight of the 19th century, the heavy handedness of Cromwell and so much else of Irish history.  There is one memorable scene that captures this destitute quality, a glimpse that Furlong catches on a rainy night in the city.  He observes a young boy filching the milk in bowl set out on stoop, which is probably intended for a cat. He slurps it up furtively in the wee hours.

The scenes of Furlong’s life alternating from his own childhood and adult life are treated with quiet dignity.  The interiors are presented with realism that does not glamorize yet offers a window into domestic life of Ireland much the way a painting of the 17th century Dutch genre painters would do.  The lighting is unglamorous and the acting by all is memorable as well. 

The courageous aspect of the text and the film comes through in a number of vignettes. Most notably in how Furlong stands up to the cajoling and attempted manipulation of the nuns and Mother Superior in particular. He simply states the truth without provoking an argument. Speaking truth to power is another way of putting this. The power of the church and the nuns is evident in the way Furlong's wife and other townspeople turn a blind eye to the abuse and cruelty happening in their midst.

There is also the timeless quality in another overtone as well, as in one of Furlong's reminiscences of his childhood. This is through the book by Charles Dickens, David Copperfield, which is referenced. So we have another idealistic youth (from a literary work of the 19th century) to underscore this narrative and draw parallels to our main character. Hence, the book and movie have a Dickensian quality. Dickens' other novel about a youth in hardtimes is Oliver Twist. I saw this play in a theatre in London in 1968 with my father and uncle.

The nuns and Catholic Church do not come off well here and we are thankful for this atonement of sorts offered here for the abuse suffered by girls and young women during the 20th century.  

Above- A painting of the western Ireland coast by the author, "Galway Bay- October Light" oil on linen 26" x 30."

A cinematic song of Northern Ireland-

Perhaps one of my favorite movies of recent years is the portrayal of “The Troubles” in Northern Ireland by Kenneth Branagh. This movie, Belfast also is centered on the life a young boy- in this case based on Branagh himself.  It uses black and white filming to help portray the era of late 1960’s during the political violence and religious strife.

As the lead character is roughly my own age it made the film even more relevant.  The comparison between life in Belfast in 1968 and Wyalusing, PA was stark. The former marked by extreme social upheaval and violence, and the other by a dependable outward stability.  The lead character played by Jude Hill is truly the emotional center of the film. We are endeared and captivated by him from the start.

Heart wrenching and endearing- The Irish- American connection CA 1950

The final movie of these Irish life portrayals was the recent film starring Saoirse Ronan.  This film, Brooklyn caps off this trilogy that I have put together.   It is also a period portrayal set in the 1950’s and alternates between Ireland and Brooklyn, NY.   Unlike the first movie, this one portrays the Catholic church, and the priesthood in a positive light.  Instead of abusive and taking horrible advantage of their power and betraying their religious responsibilities - this movie shows a genuine concern by the priest as he acts as a benefic shepherd overlooking his flock.

It is the slice of life quality and the emotional authenticity that is the unifying theme of these three movies.  As an artist, I think of painters and engravers who did similar interpretations.  For example, William Hogarth’s etchings of working-class England come to mind.   There are painters and poets of Ireland that are recalled as well. For example, Jack B. Yeats, the painter and of course his brother, the poet, William Butler Yeats are thought of as representing Ireland.

Above- "Afternoon Light- County Kerry". This 18" x 20" oil on linen depicts the coastline southeast of Dingle in Ireland.