Neglected Gem #98: Some Mother’s Son (1996)

Helen Mirren in Some Mother’s Son (1996). 

Some Mother’s Son proves that a movie doesn’t have to be well made to touch you – and that you can forgive a lot of mistakes when a filmmaker has both a sense of drama and an instinct for playing fair. The film is set is in Northern Ireland and built around the 1981 prison hunger strike by convicted IRA members that claimed the lives of its instigator, Bobby Sands, and nine other young men. It was co-written by Terry George and Jim Sheridan, who had collaborated on the script of In the Name of the Father three years earlier. But Sheridan, who’s a brilliant director, was also behind the camera on In the Name of the Father. Here the director is George, making his directorial debut, and he’s neither imaginative nor skillful: he makes sentimental choices, he uses close-ups like a crutch, and he lacks a sense of rhythm. There are many times in Some Mother’s Son when you wish Sheridan had taken over – scenes that call out for layering and nuance, moments that need to be framed and extended that George just bops past. What the picture has is a sensational story, and its vision is quintessentially humanist: it’s on the side of two grieving mothers whose sons are imperiled equally by Thatcher’s policies and by the pride and extremist stance of the IRA.

New Work from London

 Paddy Considine and Genevieve O'Reilly in The Ferryman at the Royal Court. (Photo: Johan Perrson)

This article contains reviews of The Ferryman, Don Juan in Soho and La Strada in the West End and Common at the National Theatre. The review of The Ferryman contains spoilers.

Audiences leap to their feet at the end of The Ferryman, the new play by Jez Butterworth (Jerusalem) that has recently transferred to the West End after a sold-out run at the Royal Court. And why wouldn’t they? Butterworth and the director, Sam Mendes, have stockpiled enough heart-tuggers in three and a quarter hours to make the manufacturers of the nineteenth-century potboilers that used to reduce audiences to mush look like amateurs. The setting is northern Ireland in 1982, during the prison hunger strike that resulted in the deaths of Bobby Sands and others. The hero, Quinn Carney (Paddy Considine), is a warm, hard-working, life-loving Irish farmer with a huge family whose brother’s body has just been discovered ten years after his disappearance. Quinn is sure that he was killed by the IRA for some unidentified offense of which he was innocent. (The play is certain of it, too, though Butterworth never even tells us what he might have been fingered for.) The ruthless IRA man, Muldoon (Stuart Graham), blackmails the Carneys’ parish priest (Gerald Horan) into revealing what he learned in confession from the dead man’s widow, Caitlin (Laura Donnelly), whom Quinn and his wife Mary (Genevieve O’Reilly) took in along with her son Oisin (Rob Malone) when her husband vanished. Caithas been in love with her brother-in-law for years; Muldoon threatens to tell Mary unless Quinn agrees to keep his suspicions about who killed his brother to himself.

Verve and Verisimiltude: Adrian McKinty’s Irish Police Procedurals

Crime novelist Adrian McKinty.

If we were to read only the sixth and most recent entry of Adrian McKinty's Sean Duffy series,   Police at the Station and They Don’t Look Friendly (Seventh Street Books, 2016), and his previous Rain Dogs (2015), we would be gripped by his outstanding opening chapters. In Police at the Station, we are dropped into a tableau that could have emerged from The Sopranos – except it is 1988 in Ulster, during the Irish “Troubles,” in which, over the course of thirty years, 3,600 people were killed by Republican and Loyalist paramilitaries, and the Security Forces. Detective Sean Duffy is being prodded forward with guns to his back through a patch of woods to dig his own grave. (The 2009 film, The Crying Game, is perhaps a better comparison.) He knows this scene well. He has been the responding officer on “half a dozen bodies found face down in a sheugh, buried in a shallow grave, or dumped in a slurry pit on the high bog." Before the reader can wonder whether this series is coming to an end, the next chapter veers back to the beginning of the mess in which Duffy finds himself, the investigation of the murder of a drug dealer shot in the back with a crossbow. In Rain Dogs, Mohammad Ali is visiting Belfast on a "peace tour" and Duffy is on security detail. Ali did visit Ireland twice, and this fictional scene has the feeling of verisimilitude, given McKinty’s description of the boxer and his face-to-face with a bunch of skinheads opposed to him on the grounds of the colour of his skin. It is a marvellously constructed opener even though it has nothing to do with the plot that follows.

Not So Jolly: Cinematic Carnality and Corruption

Michael Fassbender and Carey Mulligan in Shame

Profoundly damaged men are the focus of two new films with one-word titles and bleaker-than-bleak outlooks. Just in time for the holidays! In Shame, the troubled New York City protagonist is Brandon Sullivan (Michael Fassbender), addicted to anonymous and increasingly rough, grim sex. The central character in Rampart, Dave Brown (Woody Harrelson), is a longtime Los Angeles cop whose lies, brutality and arrogance have begun to erode his very being. Joy to the world!

While both movies are hard to watch, Shame provides some measure of compassion for the handsome Brandon as he navigates between his upscale office job and a secret life of compulsive seduction, masturbation, hookers and porn. Director Steve McQueen, who co-wrote the screenplay with Abi Morgan and gives the dire proceedings a deceptively stylish look, does not provide any examination of what early experiences might have dragged a person into such self-destructive lower depths.