ScreenFish

where faith and film are intertwined

Jamie Dornan

Belfast: The Movie We Need Right Now

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I was late on the Belfast train.

Oh, I’d heard it was great. I was at TIFF but missed its screening. I had heard from many how lovable the film truly was. With potential Oscars in its sights, the film has remained a constant in conversations for Best Picture since its release. But there’s absolutely no way that Branagh could have predicted how appropriate the film would become, given global circumstances.

No one could have.

Written and directed by Kenneth Branagh, Belfast is the semi-autobiographical tale of his upbringing in Ireland. Transporting the viewer back to the tumultuous riots of 1969, Belfast is told through the eyes of Buddy (Jude Hill), a 9-year-old boy who is trying to make sense of the world. Living in a poverty-stricken area that’s torn between the Catholics and Protestants, Buddy’s father, Pa (Jamie Dornan) work overseas in England in order to support the family. Meanwhile, his Ma (Caitriona Balfe) takes care of Buddy and his brother as they attempt to figure out what’s next for their family.

Branagh’s story of division and rebellion through the eyes of a child is infused with an undeniable blend of joy and sadness that immediately draws the viewer into the story. Yet, despite the fact that the story takes place in Ireland in the late 60s, there’s something so current about Belfast. Whether it’s the invasion of Ukraine or division of US politics in recent years, Belfast connects deeply with the heart of conflict and oppression while still offering a glimmer of hope. 

Frankly, it’s a remarkable balancing act within the script. 

Without ever losing the traumatic effects of issues such as oppression or poverty, Branagh still manages to highlight the innocence of childhood. In other words, whereas most films of this type highlight the brokenness of the era, Branagh chooses instead to balance it with the infectious joy of growing up. To Buddy, the world around him is simply the way things are. What matters most to him are his parents, playing in the street and the girl next door. (It’s telling that the scariest moments for him involve conversations about leaving Belfast or getting into trouble for stealing a piece of Turkish Delight.) There’s a beauty within this that serves as a reminder that life springs up in the midst of our suffering, especially through our children. This may be a world of black and white (literally) yet Buddy’s world still has splashes of colour. 

Buddy doesn’t understand the depth of what’s going on around him but he does try to piece it together. Filtering his understanding of the world through his love of pop culture, everything about this world feels like it becomes clearer when seen through his eyes. (It is no coincidence that the final confrontation feels like it could have been developed from High Noon.) While the fight rages around him, all that Buddy sees (or wants to see) is the love of his family. As such, there’s an honesty about this film that acknowledges the innocence of Branagh’s childhood but also has a reflectiveness from his adulthood as well.

In terms of its home video release, Belfast is surprisingly enticing. On the surface, the film doesn’t dazzle by its inclusion of the traditional deleted scenes and featurettes. However, what’s most exciting is the fact that, not only does it feature an alternate ending that focuses on Branagh’s return to his hometown (as Buddy), but most importantly (and I cannot stress this enough) there’s a director’s commentary. Honestly, I can’t remember that last disc I’ve seen with a quality commentary attached but Branagh is more than willing to delve into his film with charm. As such, this may be a film that actually benefits from its proper home video release by providing the necessary tools to gain more perspective on the film.

While there are no guarantees whether its name will be called on Oscar night, there is little question that Belfast is one of the best films of the year. Popping with life and love, this is a story of hope at a time when we need it most. Yes, trauma is real. Yes, pain is overwhelming. But love still finds a way.

And that is why this is the film that we need right now.

Belfast is available on VOD, Blu-ray and DVD on Tuesday, March 1st, 2022.

Belfast – Hometown memories

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“There are no roads to Shangri-la from our parts of Belfast.”

In Belfast, Kenneth Branagh, who wrote and directed, creates a fictionalized version of his childhood. It is a film built on the nostalgia of youth with a background of the violence of the sectarian struggles of Northern Ireland. It is a blend of an homage to the city of his birth, a paean to family, and a memorial to the lives changed and lost in that time. (The closing dedication of the film is “For those who stayed, for those who left, and for those who were lost.”)

Jude Hill stars as “Buddy” in director Kenneth Branagh’s BELFAST, a Focus Features release. Credit : Rob Youngson / Focus Features

Buddy (Jude Hill), a nine year old boy, lives with his parents (Caitíona Balfe and Jamie Dornan) and brother in a predominantly Protestant neighborhood in 1969. His Pa works as a joiner on projects in England, coming home for occasional weekends. His Ma keeps things running at home, dealing with the debt they’ve accumulated. The family has lived their lives on that street. He is surrounded by cousins and his grandparents (Judi Dench and Ciarán Hinds). It is a family filled with love, even if there are rough patches to get through. It seems like a wonderful place.

The film opens with an idyllic day in the street, with the children running and playing in various ways. There are the joyous sounds of song and laughter. But then suddenly a mob appears with rocks and Molotov cocktails, and starts destroying the neighborhood. The scene quickly becomes chaotic with frightened parents and children trying to get to safety. Soon the street is walled off. Vigilantes patrol the streets. One young man demands that everyone must contribute “cash or commitment” to the Protestant cause. Buddy’s Pa wants nothing to do with the divisive situation. Instead, he is trying to convince Ma that they should emigrate—bringing brochures for Sydney and Vancouver. In time, Pa gets an offer that would have them move to England permanently.

Caitriona Balfe (left) stars as “Ma” and Jamie Dornan (right) stars as “Pa” in director Sir Kenneth Branagh’s BELFAST, a Focus Features release. Credit : Rob Youngson / Focus Features

But this is all told through Buddy’s eyes. He overhears these discussions about leaving Belfast, but wants nothing to do with the idea. All he knows (and all Ma has known) is these few blocks. He also sees the world through the films he watches at the cinema and on TV. The films on TV are often classic westerns. We see as he watches The Man Who Shot Liberty Valance and High Noon. High Noon seems especially appropriate because it is a story of leaving to avoid violence or standing up to that violence. It is very much the situation that Buddy sees Pa facing. And in a key scene we see Pa as Billy sees him: the marshal facing an evil mob.

The film has an interesting look: a darker, richer version of black and white than we are used to. There are also splashes of color when Buddy goes to the cinema to see One Million Years, B.C. and Chitty Chitty Bang Bang. We see the memories of that time and place as a mixture of light and dark. It is the unreal world of the cinema that is full of color. The film is also filled with the songs of another Belfast native, Van Morrison.

(L to R) Jamie Dornan as “Pa”, Ciarán Hinds as “Pop”, Jude Hill as “Buddy”, and Judi Dench as “Granny” in director Kenneth Branagh’s BELFAST, a Focus Features release. Credit : Rob Youngson / Focus Features

There is an interesting sign at the end of the street Buddy lives on. Painted on the side of a house row it reads, “This is a faithful saying, and worthy of all acceptation, that Christ Jesus came into the world to save sinners.” It comes from 1 Timothy 1:15 (AV). The presence of those words in this film is both a reminder and a critique of the religious foundations of The Troubles. The film doesn’t identify either side as “sinners”. However, we understand that Jesus came to save them all—both Catholic and Protestants.

Yet in spite of all that is going on, for Buddy, this is the place he loves—filled with people he loves—and will always love. Even after leaving to a different life, this is the place, even with all the difficulties, that has defined him. It’s taken Branaugh fifty years to find a way to tell his story this way.

(L to R) Caitriona Balfe as “Ma”, Jamie Dornan as “Pa”, Judi Dench as “Granny”, Jude Hill as “Buddy”, and Lewis McAskie as “Will” in director Kenneth Branagh’s BELFAST, a Focus Features release. Credit : Rob Youngson / Focus Features

Belfast is in general release.

Photos courtesy of Focus Features.

Synchronic: Time Is On My Side

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It never feels like we have enough time.

Set in the shadows of New Orleans, the new action-drama Synchronic follows paramedics and long-time friends Steve Denube (Anthony Mackie) and Dennis Dannelly (Jamie Dornan). Though both men seem to have their lives together, they soon find themselves in over their heads when they are called to a number of increasingly strange and grisly deaths which appear to be linked to a new drug called ‘Synchronic’. If that weren’t enough to deal with, Denube is soon after diagnosed with brain cancer, causing him to fall into a deep depression that opens the door for him to use the drug himself. However, in doing so, he soon discovers an unexpected side effect of Synchronic that seems to provide hope for the future, even if it lies in the past.

Written and directed by Justin Benson, Synchronic is a surprisingly engaging film that brings a new twist to the time-travel genre. Less Back to the Future and more The Butterfly Effect in its tone, Synchronic is a darker entry into the genre that leans more heavily into the trauma of loss than it does the fun of quantum leaping. Despite the fact that there are some items that move between eras, Benson opts to ignore most of the potential ramifications of time travel. (There’s no ‘Grey’s Sports Almanac’ or ‘Infinity Stone’ ripple effects in this film.) In doing so, Synchronic gives itself the freedom to use the device to reinforce the overall story’s themes and ideas without being bogged down by silliness that often comes with these stories. Instead, Benson uses the premise to focus on the present, as opposed to the past. 

As the film’s heart, Mackie’s charm and charisma give an affability to Denube that comes through despite the pain that his character is experiencing. At the same time, Dornan excels in roles that have an aura of inner darkness and Dannelly’s heavy emotional burden provides ample opportunity for him to show his talent.

Somewhat surprisingly, Benson makes an interesting choice by linking time travel with drug use. Similar to the way in which addicts will use their respective vices to escape from the pain of reality, so too does Synchronic give users the option to return to a ‘simpler time’. 

The problem is that the past offers no comfort either.

Though they may wish to flee their problems, Synchronic users usually find themselves in the most difficult eras of the past. Whether its fighting conquistadors, evading alligators or running from the KKK, those that take the drug seem to discover that the struggles of the past are no less traumatic than the present. In this way, the drug offers no solace for those who are running from the pain of their lives as it transports them to places in time that are no safer than what they were enduring already.

And that’s entirely the point.

By choosing to use time travel in this way, Syncronic is well aware of the fact that we can often become so wrapped up in the troubles of today that we think we are living in the worst period of human history. Instead, the film reminds us that each day has  troubles of its own. This is probably best exemplified through the journey of Denube who becomes more aware of his relationship to the present the more he learns about how Synchronic works. Told that his brain cancer is likely terminal, Denube suffers from depression and an increasing inner rage. Crushed under the ticking clock of his condition, Denube realizes that time is not on his side.

However, as he spends more time in the past, he recognizes the importance of living for today. Though he understands that his life is coming to an end, he also comes to realize the value of the moments that he has right now, whether it’s celebrating the people that he loves or simply being grateful for his time on Earth. While the film fully acknowledges the pain of the present, Synchronic actually finds joy in the midst of trauma that many other films fail to recognize. 

In other words, although the times we live in are not easy, there still remains things worth celebrating in the darkest of moments.

While the film is a bit of a slow starter, there’s a lot to like about Synchronic. Bolstered by engaging performances from its cast, the film’s creativity and commitment to the premise work well to be worth your time. Though the use of time travel is hardly original, Benson uses it in such a unique manner that it feels fresh in a lot of ways. Ultimately however, the most noteworthy aspect of the film lies is not just its ability to explore the past. It’s that it reminds us to find things worth rejoicing in the present.

When we can find a way to do that, time is always on our side.

Synchronic is now available on VOD, DVD and Blu-Ray.

Wild Mountain Thyme: Irish Wonder and Identity

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Set in the foothills of Ireland, Wild Mountain Thyme tells the story of Rosemary Muldoon (Emily Blunt), a strong-willed farmer who yearns to win the heart of her emotionally-stunted neighbour, Anthony Reilly (Jamie Dornan). Struggling to commit to his role in the family farm, Anthony also struggles to take a risk with his feelings for his beautiful neighbour. When his father (Christopher Walken) loses confidence in his son’s ability to take care of their land, he invites his American nephew Adam (Jon Hamm) to purchase their family farm. However, upon meeting Rosemary, Adam realizes that pursuing a romance with her may be an even better reason to take up residence in the Irish countryside. Torn between the love she has in front of her and the one that she wants but can’t have, Rosemary must ask herself what is most important to her and where she sees her future.

Written and directed by John Patrick Shanley (Moonstruck), Wild Mountain Thyme is a sweeping romantic comedy that works well for the most part, even if it falls short near the end. Based on his play Outside Mullingar, Shanley portrays Ireland as a land embedded in rich mythology and charming characters. Bathing the screen with lush, green landscapes, Thyme is a visual treat that leans into the allure of the Irish countryside and its quirky residents. (Fans of other Irish gems such as Waking Ned Devine may appreciate the characters in particular.) Stars Dornan, Blunt and Hamm have wonderful chemistry together, carrying the film on their shoulders much of the time. (In fact, this is especially true of Dornan and Blunt, who simmer together onscreen in several key scenes.)

Admittedly, the film is certainly far from perfect. While Blunt’s Irish accent works, some of the cast sound almost non-sensical (Sorry, Mr. Walken.) and even distract from the film itself. What’s more, many of the relationship questions feel answered so early in the film that there’s very little left to discover by the film’s finale. Even so, these issues are decidedly minor quibbles that do not take away from the film’s sweeping narrative. (Well, maybe Walken’s accent.)

What will likely be discussed at length is the film’s ‘twist ending’ (which won’t be spoiled here.) Bound to be controversial, Anthony’s confession at the end of the film seems so wild that, if true, there’s little question that this particular reveal may be the most bizarre of the year. (In 2020, that’s saying something…) However, what many will forget is the film’s overall emphasis on whimsy and mythological storytelling. While Anthony’s revelations would make no sense in a more grounded reality, Thyme is never meant to be so. In a world where the dead can return and Rosemary considers herself to be a swan, the finale still manages to work within the context of the film and its culture.

In many ways, Thyme is a film about discovering who you are. Although they live in a world that feels settled and comfortable in its ways, these characters are all in periods of transition. Anthony seems unconvinced of his role at the farm once his father passes. Adam is told that he’s not a farmer, even if he wants to own a farm. Even Rosemary, who seems the most self-aware of them all, seems uncertain as to whether or not she should remain on her land or leave for the grand adventure of New York City. Interestingly though, rather than leaning into the more traditional theme of ‘finding one’s self’, Shanley’s script highlights the fact that such self-inquest is often unreliable. (“Everyone thinks they’re something they’re not,” Rosemary cautions.)  In this way, Thyme is unique in its perspective by pointing to our peers and family as the ones who truly know us for who we are. For Shanley, identity is not merely something we ‘know’, it’s something that we earn based on our interactions and relationships with the people in our lives.

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Flawed but sweet, Wild Mountain Thyme has enough charm and wit to validate a trip to the cinematic countryside. Carried by strong performances from its key stars, Shanley writes a love letter to his home country that can charm in its quirkiness. (Just note that you might need some subtitles along the way.

To hear our conversation with director John Patrick Shanley, click here.

Wild Mountain Thyme is available in select theatres and PVOD on Tuesday, December 22nd, 2020.

Anthropoid – The Romance and Reality of Heroism

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Heroism. Patriotism. Futility. Is it possible to celebrate the two virtues and still recognize that sometimes the end result may seem a bit tarnished? Anthropoid tells the story (based on actual events) of Czech patriots in World War II who act courageously, yet in the end, as the death tolls grow on both sides, we are left to consider the terrible cost of war—not just the numbers, but the individuals that make up those statistics.

In 1938, the European leaders gave Czechoslovakia to German to try to establish “peace in our time.” Soon Germany had established major factories for armaments and imposed harsh conditions on the country. When resistance began, SS General Reinhard Heydrich (the third ranking official in Nazi Germany and one of the architects of the Final Solution) came to oversee the country and earned the sobriquet “The Butcher of Prague”. In 1941, the Czech government-in-exile sent a group of parachutists to Prague on a mission to assassinate Heydrich. The mission had the code name Operation Anthropoid. The film follows the story of two of those agents, Josef Gabčík (Cillian Murphy) and Jan Kubiš (Jamie Dornan), as they work with locals to set up the assassination.

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Josef and Jan have little intel about the city or their contacts there. The Nazi war machine has been very effective in eliminating the local resistance movement. Those freedom fighters who remain are very leery of Jan and Josef, and especially of their mission. Josef and Jan, in order to fit in to the city, connect with two women of the resistance, Lenka and Marie. There is some love story here, but it is minor. But as a part of those relationships, the film gets to consider some of the various perspectives that one finds in war. As Lenka talks with Josef as they walk around the city, she compares her attitude about the war (pragmatic and grounded in the reality of the situation) with Marie’s (a more romantic view of war).

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The film strives to show both of these views in the portrayal of those involved in Operation Anthropoid. On the one hand, this is a film that relishes the bravery and sacrifice that Josef, Jan, and the others display. (This is the romanticized view.) They all know that any slip could mean death and the failure of the mission. Yet, even though they may have second thoughts, they are devoted to setting their nation free from the scourge that Heydrich oversees. They, like soldiers in any war, are willing to die for their country. But at the same time, the realities and consequences are very plain. When Josef and Jan first tell the locals what their mission is, it is pointed out that if they succeed, the Germans will kill thousands in retaliation. Josef is a bit too easy in saying that any patriotic Czech should be willing to die for this. Indeed, after the attempt, whole towns are killed or sent to death camps. We are left to consider if the plotters bear responsibility for the death of so many innocent people.

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In time, the assassination team is holed up in a local cathedral as hundreds of German soldiers lay siege. The carnage of the shootout in the cathedral is almost worthy of Quentin Tarantino, but less graphic. The plotters nobly go out in a blaze of glory. But we also know that the German soldiers are also doing what they think is their duty to country. The body count that grows through the battle and knowing the doom that is the obvious outcome leaves us feeling a bit gloomy. In no way does this diminish the valor of the Czech fighters, but it does remind us (as Ecclesiastes so often does) of the vanity, meaninglessness, or hollowness of even the great virtues we often espouse.

In tone, the film reminds me of Spielberg’s Saving Private Ryan in that it tells the story of heroic actions, but leave us saddened by the terrible costs that those actions carry. The film also reminded me a poem I read long ago in school, “Dulce et Decorum Est” by Wilfred Owen. That poem, from World War I, calls the romance of dying for country and “old lie”. The way the reality of war and the romantic view of heroism often both compliment and conflict plays out well in Anthropoid.

Photos courtesy of Bleecker Street