April 25, 2024

A moving picture!

I pretty much went into the cinema with <em>'That They May Face the Rising Sun'</em> totally blind in terms of what to expect, just the way I like it mind you. All I knew was that it was outta Ireland and based on a book, which I evidently hadn't heard of. I'm pleased to say what greeted my eyes was a very splended movie.

The story is simple, one that holds no bells and whistles. I don't mean that in a negative way whatsoe… read the rest.

A moving picture!

I pretty much went into the cinema with <em>'That They May Face the Rising Sun'</em> totally blind in terms of what to expect, just the way I like it mind you. All I knew was that it was outta Ireland and based on a book, which I evidently hadn't heard of. I'm pleased to say what greeted my eyes was a very splended movie.

The story is simple, one that holds no bells and whistles. I don't mean that in a negative way whatsoever, as it is the film's greatest element. It's all very grounded, which allows the acting talent to shine. Though, the cinematography is exquisite. It is also paced to perfection, in that regard I was kinda caught off guard when the credits appeared!

Barry Ward and Anna Bederke are the cover stars and are worthy in their roles of Joe and Kate, I enjoyed them both. However, those behind them are the standouts for me. Lalor Roddy is fantastic as Patrick, so much emotion (and humour!) delivered from him throughout. Brendan Conroy does a lot with relatively little, similarly (first time actor, so I read?!) Phillip Dolan and Sean McGinley (esp. at the end).

It's all extremely touching. Safe to say, I'd highly recommend this!

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May 4, 2024

There's something very potent about the Celtic habit of understating things. A few choice words, a bit of sarcasm or invocation of nature or, occasionally, religion coupled with some perfectly judged facial expressions or shrugs! It can be used to really good comic effect and to illustrate entertainingly just how folks live their lives and deal with death. "Joe" (Barry Ward) and wife "Kate" (Anna Bederke) live in their rural home where he is tryi… read the rest.

There's something very potent about the Celtic habit of understating things. A few choice words, a bit of sarcasm or invocation of nature or, occasionally, religion coupled with some perfectly judged facial expressions or shrugs! It can be used to really good comic effect and to illustrate entertainingly just how folks live their lives and deal with death. "Joe" (Barry Ward) and wife "Kate" (Anna Bederke) live in their rural home where he is trying to put together his latest book and she juggles her time between running a gallery in London and living the dream amidst a remarkably dry Ireland. The film essentially plonks us in their home for a few days as we watch a variety of local souls pop in for tea, whiskey and chat. What's quite striking about this community is the lack of the young. Everyone here is nearer the end than the beginning, and with the vacillating character of "Patrick" (Lalor Roddy), the returning from Britain "Johnny" (Sean McKinley), his brother "Jamesie" (Phillip Dolan) and the curmudgeon that is "Bill" (Brendan Conroy) making up the characterful sextuplet of regulars we are presented with a glimpse at a perfectly plausible day in the life sort of thing... The "Patrick" character is probably the most interesting, flawed and decent, angry yet caring; but the others all fit into this sympathetically filmed jigsaw puzzle of what goes around comes around nicely. Don't expect lots to actually happen, but do expect to smile quite a bit and think a little, too.

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July 20, 2024

Pat Collins’ first narrative film largely, refreshingly, lacks a conventional narrative. Adapted from John McGahern’s final novel, it reveals the director’s considerable skill with both sight and sound, a fine cast, and a surprisingly explicit wink to Ozu.

Collins lovingly frames a hallowed rural Irish community of a half-century ago, whose religion and traditions provide order, and hope, but are nevertheless already significantly hollowed out… read the rest.

Pat Collins’ first narrative film largely, refreshingly, lacks a conventional narrative. Adapted from John McGahern’s final novel, it reveals the director’s considerable skill with both sight and sound, a fine cast, and a surprisingly explicit wink to Ozu.

Collins lovingly frames a hallowed rural Irish community of a half-century ago, whose religion and traditions provide order, and hope, but are nevertheless already significantly hollowed out. Indeed, for all of the film’s prose-tinted passion, it has an unmistakably funereal feel. Its people, and those like them, are buried in their stony grey soil, the bones on which today’s Ireland are built.

[For more on McGahern, see his entry in _The Dictionary of Irish Biography_ at https://www.dib.ie/biography/mcgahern-john-a9414.]

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