Director and Writer john Michael McDonagh. Score Patrick Cassidy, Cinematographer Larry Smith, Production Design Mark Geraghty. 100 mins.
The hill on which sacrifice is made.
But first a poem by anon.
The first Irish poem ( allegedly!)
I am the wind which breathes upon the sea,
I am the wave of the ocean,
I am the murmur of the billows –
I am the ox of the seven combats,
I am the vulture upon the rocks,
I am the beam of the sun,
I am the fairest of plants,
I am the wild boar in vapour,
I am the salmon in the water,
I am a lake in the plain,
I am a world of knowledge,
I am the point of the lance of battle,
I am the God who created the fire in the head.
(ed. P. Murray)
It is soon to be Easter and time for reflections on the sacrifice of Gods only son on earth. This is the Earth we live on, set between heaven and earth is Jesus. Our own view is contained physically. Until we climb higher.
The Plateau of Benbulben features a great deal as a slab of biblical proportions overshadowing the tables of Sligo, small tables which we gather round, in the towns and villages beneath.
This film is another from the brother John of the McDonagh brothers and follows his The Guard also starring Brendan Glesson.
The mortal life foresaken after Jesus has revealed for mankind the powers of God, has found disciples and put forward values for them to show, to attain, teaching us to respond to evil and drive it out. His death was necessary to affirm the truth. We now the seven deadly sins, what sin is.
In this film the earth is expressed by the sea’s edge and horizon fixed in our relation to it. The sins by the journey taken in one week by the Priest among the people he leads or claims missionary over.
We occupy that place where our soul resides between the earth and the outside. As individuals the earth provides us with its time immemorial constants. This film casts its gaze upon the sea as a metaphor for life lived under the force of Gods design. The characters of the village behave in all manner of ways with each other and those that attend Father James’s Church, maybe go to confess their sins. The village in which it is set has pop culture symbols and characters of modern Ireland none of which have anything beyond stereotyping. The players are walking on fault lines in the script which is untidy. The framing jars at the very beginning after a confession when a stud is questioned about his affairs by the mainstay Father James. Odd angles enter, then leave? It settles into relative normality though the village street, something there yet absent provides no sane backdrop.
Some scenes are best forgotten but in the midst of them irritatingly the story rises on quite a few occasions only to drop the ball with incredulous words. Maybe that betokens the nature of us and the intention is to show our absurd responses to things.
Father James biggest problem becomes an act yet to occur which involves his death.
Naturally hurt at this possible outcome he consults his Bishop. Sure why wouldn’t he and then sets off after the absurd dialogue on Gods work. Don’t call the guards.
Father James faces among his parishioners no small difficulty of leadership which as a decent man in his chosen task he need now also contemplate his own demise. That radical, the truth, has on its tail repentance, the sinner has left the building, the vengeance is seen as himself, institutional good, emphasize his goodness for it shall therefore be inexplicable,representing God in confronting ungodliness. Brendan Glessons character is not seen in his Church except to show it as a sort of temporary form, that of a timber barn unlike the bells, smoke and mirror kind associated with the accepted religion. Very puritan. Very Scandinavian.
In the working of this tale of mystery; Father James it seems knows the affected, the filmmaker relies on Irish flavoured bitter humour and a screwed up parish to recall the grotesque, the embedded hatred kept in a seemingly logical and local narrative of which Father James is unsullied and innocent.
That placement of contempt of the Church seems to loom large as though everyone is affected, has been effected by it. As in the North; the vehicle being there the ‘troubles’ there is a communal bereavement, a causal change in the mindset of good and evil. All through the visceral loss of sense in Godliness. Brendan lashes out in a great scene on such a confrontation, his own faith challenged. The villagers make up their own religion in the void.
Of the person whose aim is to create another vile sin a week on Sunday he has an uncomfortable relationship as is the case on most points of the compass. None have any reverence towards him. A mere mortal though a good one. Willing and able to help with clearly the soundness in mind – judgement is a trammeled word – to administer in the doubts that this earthly conscious offers proverbially.
Performances from the uncommitted (atheist) Dr Harte, Aiden Gilen, Dylan Moran, Michael Fitzgerald Wealthy Man, Fiona, daugher of James, the beautiful red haired Kelly Reilly over from her exile and escaping to the ‘lost’ father; a key and solid piece of consistent convincing acting and the venerable Chris O’Dowd, imperious to the fact real life exists and a show is not life, stripey butchers apron, very fetching, his is a character in who you despair, at least I did because his manner was unconvincing except latterly.
In contrast the film is imperious when a scene of confrontation by a driver and his daughter represents the most vivid effect of how far we have come, that this is embedded in the everyday. The man represents most the condition alongside Fiona whose authorize connection with her dad is placed alongside her harmful loneliness. This splintering of the film in my mind at once decisive then a second later irregular. Many a slip between hand and mouth does mar the story. Perhaps it is the chattering of the seven deadly sins that mark it.
Brendan Glesson carries the central theme of forgiveness forward as a human being. It is as the Holy man he need minister to the mere mortals needs. He is Father James Lavelle, the incumbent here in the Yeats territory of Sligo. Yeats believing in eugenics at the same time advancing his own symmetry of poetry into floored and literary history. Clearly the air is affecting.
Brendan Glesson of course, given his honed gift of acting and his knowledge of the writer, directors aim gives full endeavour, thrusts centre frame in a for the most part restrained perfected act of role playing. In uniform the glory is not his, like forgiveness it’s Gods. He acts the part and if only.
The film, as its import takes us into the life’s of those in this place, in the course of the week, teases us to point to the portentous guilty sinner.
They are all sinners as us, with degrees of imperfection. This is seen to best effect in the father daughter relationship. There the writing is not a let down but superior and sustained in telling each’s story. Proper storytelling.
The sadness, grief, cruelty, anger and hurt here is Father James’s burden.
The past he cannot resolve except to use religion which his flock reject.
Whereas God gives to each of us a share of the burden of mankind; each taking as much as he can cope with, here the burden is cast out among the stereotypes. Each exemplifies Gods meaning. Each is a discovery for the viewer to relate too. Each of us will be affected by different elements making this film a highlight of cinematic achievements that Ireland lays claim to very occasionally. It follows on from recent themes of Irish cinema with Philomena having been the most recent comparator.
The sweep of the West of Ireland gives us Gods creation. That sea and land sometimes taken for granted and man demystifies with bungalows, estates, supermarkets and edge of town DIY stores. Reached by shiny motors.
Holy Motors. Now there’s a film way beyond this collection of humanity.
It has an episodic linearity which is spectacular.
Ireland’s character is visible with the ever present question – How could we have allowed this to happen? and this plaque is/was more than a burden but an altogether mortal execution without remorse. This is the whole nature of the film which only occasionally but very dramatically is realised here.
In the North similar practices took place yet the deflection the church chose to provide; as after the famine, as in civil war, was to seek restitution and forgiveness in the Holy Orders. What hope existed vanished in their sinful hands. They came thick and fast and clung as an overburden, way beyond the simple Christian message of loving thy neighbour. Vengeance is mine sayeth The Lord. Not yours or the Priests. James Lavelle knows his enemy is not the murderer but the sacrifice made missing for the perpetrator not having God in his life. He cannot offer anything to assuage the harm and carries the guilt through the week.
On these Sligo beaches where many a famine victim perished and were turned into the dust and sand of the beach, the continuum of earths reminder of the cycle of life speaks daily. Wave after wave of consciousness is brought about by recalling our history and this film while being a small element; pretends no greater part than to construct a story for us to contemplate.
We are beginning our return to Calvary and to forever face the self.
I don’t accept there is this degree of hypocrisy or anywhere near it, nor the extent of cynicism depicted in the Irish psyche as this film engenderers even with its black comedy stic on the seven deadly sins.
Ode to the Christian Brothers it is not but it creates a surreal picture of the life Ireland occupies as if it goes on a pilgrimage to Jerusalem and sees there the divisions that still exist and the myth perpetuated of the promised land -returning with eyes wide shut. Has it the substance (topic) abuse (Eg hard-knock Irishness doled out by Dorries) a Tory with a six figure advance heart ache turns on like a dose of piles?
No we have not reached the ‘bottom’ in platitudes in Ireland or with this film being merely in the doldrums which Irish society is awakening to. For too long have the stories seemed unreal and this perpetuates that excursion. This film goes someway into trying to place self discovery on film.
As fanciful as Noah is as a biblical epic story, so the people were led onto the land, out of the hands of the Philistines, reality becomes fiction?
Partially only. No one reads reports except the Press and we have a miraculous remaining belief in mammon. Forgetting Mat. 6: 24 No one cannot serve God and riches.
Digs and dugouts are plentiful as are the (off screen) entaglements.
The bashful Publican is forgiven his bashfulness (cut to the washbasin and the show a bruise not the act, but wait, but the gory is explained how? Drama.
It lacks as despatch a homily a bit more precise than the derivative ending.
*** 3 stars
QFT Friday 11April to Thursday 24 April 2014
Wednesday 10th April 2014
A supplementary passage on Easter and sacrifice.
In this Film Calvary is a journey taken to uncover in the hills around Sligo the truth. A passage of forgiveness. An itinerary of reaching for the truth. Conquering the flesh against evil and replacing the belief in mortal life with a spiritual one.
Like the pain accompanying childbirth the new life overcomes the torment.
Such a blessing is reason enough to reconcile Gods healing of your spirit which is capable of being damaged as is the soul by wayward acts and dislocation in lives. The hill is the place of sacrifice. Thomas asked how will we know the path we are to follow, where will you go? What happens after death. Simply Jesus tells Thomas “I cannot show you what the will be; my teaching is the path, the truth and the life.” To the folk of the world this is all they are left with but it remains part of our daily lives.
The faiths divide up and segregate people (place chosen religion here) and further prophets emerge and are given the hope of human response that they alone are the true renewal of God. We need to live by the same God, the one that separates you from the world and worldly things. Those things of hate we are set to overcome through belief in the creation. The meaningful discovery that all life comes from the true God, that you only exist through knowledge within. The sacrifice is the meaningful act. That Jesus has gone, returning to God, leaving behind the living world, returning to God asking for us to be saved from evil through the knowledge he has shown.
That reality we are not born of ourselves but through Gods placement of us. We come from a time beyond the creation of the earth, True life exists outside of us in that time were love was born.
On Calvary the promise of the return is foremost. As Jesus invited everyone to the Lords table where there were to be no shortages of the things we need to live, the food, the shelter, the love within us so we cherish the word, his word. In his own death he asks, “Eli, Eli, lama sabachthami?”. My God, My God to what have you abandoned me?. “Drink” was his request, and given vinegar, said “It is done! Father, I offer my spirit into your hands.”
Golgotha is the name given to the hill outside Jerusalem we know as Calvary.
The story of Jesus being revised and rewritten so many times still tells much the same story of this event. In his life he left behind manifestations and proclamations of true goodness with the knowledge if we accept God evil need not exist. Therefore he is asking us to unite with the one immortal being, the creator from who we gain the spirit to love. This Easter time we are offered to take the symbols of the Lords table in communion. No one is turned away. There is no credal obstacle to faith. That faith where only God exists and that we are part of, that spirit living through Christ his son until we are returned to our Father and thy Kingdom come. The return is the return of the spirit to all in the Kingdom of God.
Life itself comes from knowledge of a model proclaimed by Jesus as the basis of everything? The return is – Let his power be manifest among the people.