September 24, 2015

Loaded Weapon.

Shake Hands with the Devil is directed by Michael Anderson and adapted to screenplay by Marian Spitzer from the novel written by Rearden Conner. It stars James Cagney, Don Murray, Dana Wynter, Glynis Johns, Michael Redgrave and Sybil Thorndike. Music is by William Alywyn and cinematography by Erwin Hillier.

It's 1920s Dublin, Ireland, and the Irish Republican Army are at war with the British Black & Tans. Into the conflict co… read the rest.

Loaded Weapon.

Shake Hands with the Devil is directed by Michael Anderson and adapted to screenplay by Marian Spitzer from the novel written by Rearden Conner. It stars James Cagney, Don Murray, Dana Wynter, Glynis Johns, Michael Redgrave and Sybil Thorndike. Music is by William Alywyn and cinematography by Erwin Hillier.

It's 1920s Dublin, Ireland, and the Irish Republican Army are at war with the British Black & Tans. Into the conflict comes Irish American Kerry O'Shea (Murray), who in spite of being apolitical is drawn into darker waters as the violence rages. Complications arise when a hostage situation unfurls, all while the strings are being pulled by the IRA's fearsome commandant, Sean Lenihan (Cagney), who wants Kerry under his wing.

It has always been a tricky subject to film, the so called Irish Troubles, for too many film makers have either been ignorant of the facts in the name of good cinema, or so fuelled by other motives it's difficult to get on side with such one sided venom. Michael Anderson's film, whilst itself harbouring dubious political material, deserves plaudits for trying to come at the topic from both sides, embracing the complexities of the issues and never shying away from the violence that tore through parts of Ireland. Even if it ends up being a little confused as to its aims.

Filmed on location predominantly in Dublin, there's almighty strength in the cinematography of Hillier (The Mark of Cain/Chase a Crooked Shadow). The night time shots of damp cobbled streets and gaslights are ethereal, while in daytime the lush landscapes are imposing yet still giving off a depressing hue. On the acting front it's Cagney who dominates, in one of his craziest and most crafty roles, he's a Vesuvius who darts between being the honourable cause man, to that of a psychotic who doesn't believe peace is a viable option. Strong support comes from Wynter and Johns.

Political hot-pot with wrought emotion, and action scenes that impact as Cagney does his stuff, Shake Hands with the Devil leaves a mark. 7/10

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May 4, 2024

I wonder whether an appreciation of this film depends on whether you are British or Irish? What it depicts, for me anyway, is the old adage that "one man's terrorist is another man's freedom fighter" and James Cagney ("Lenihan") manages to encapsulate that succinctly. His character, a respected professor with republican leanings, recruits "O'Shea" (Don Murray) after one of his friends is shot by one of the infamous "Black 'n Tans" and the film tr… read the rest.

I wonder whether an appreciation of this film depends on whether you are British or Irish? What it depicts, for me anyway, is the old adage that "one man's terrorist is another man's freedom fighter" and James Cagney ("Lenihan") manages to encapsulate that succinctly. His character, a respected professor with republican leanings, recruits "O'Shea" (Don Murray) after one of his friends is shot by one of the infamous "Black 'n Tans" and the film tracks his ensuing involvement with the 1921 revolution. The story follows a simplified line as regards to the actual nature of historical fact, but it does touch on the complications and perils faced by people on both sides of the argument well. Cagney is convincing, as - oddly enough, is Michael Redgrave as the "General" (AKA Michael Collins) - far removed from his Barnes Wallis patriot-style role. There is also decent support from Dana Wynter and the inimitable Dame Sybil Thorndike to broaden the range of the scenarios and demonstrate that this wasn't just a small scale, militaristic, uprising - but a general dissatisfaction amongst all strata of Irish society. Michael Anderson keeps the pace lively, and the dialogue does enough to make it's point without throttling us with it. He has captured some beautiful scenery too and it's well worth a watch.

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