Directed by Chris Baugh. Written by Chris Baugh and Brendan Mullin.
Nigel O’Neill as Donal O’Neill, Susan Lynch as Frankie Pierce, Józef Pawlowski as Bartosz, Stuart Graham as Trevor Ballantine, David Pearse as Gavigan, Anna Próchniak as Kaja, Stella McCusker as Florence, Ian McElhinney as Eamon, Brian Milligan as Jerome, Shashi Rami as Vivian Lalor Roddy as Leo McMahon, Ryan McParland as Ossie, Andrew Porter as Damien.
Production Katy Jackson and Brendan Mullin, Music by James Everett, Cinematography by Ryan Kernaghan, Film Editing by Brian Philip Davis. Six Mile Hill Productions. Cert. 18. Duration 1hr 39mins.
Before I start I update the blog as I’ve discovered the meaning of the title but not its allusion to the Film itself other than a lot of people get cut down. Apparently it’s an Agricultural colloquialism – I’m sure it’s not confined to Tyrone, or Antrim – and it is when the conditions are foul or the forecast is foul for the necessary cutting of crops and harvesting. I hope the Sundays Harvest Service (29/10/17) All Souls Church goes peaceful and s uneventful. Today (Sat.) the preparations are going well inside, decorating ever nook and cranny. That is Entrance, window cills, corners, pillars, pulpit and Choir pews. Looking forward to it.
The Chris Baugh debut feature Bad day for the Cut is a modern Irish revenge thriller with a broad scoping and complex plot driven along by the dark secrets of different family histories in this troubled province. At times it becomes a trail of bodies and sets off after a flashback, more later, with a farmer living the quiet life with his mother in an Co. Antrim farm. Scenes of domestic rustic rural harmony prevail with the caring son Donal (Donal O’Neill) eager to ensure his frail mother is not neglected and this is seen initially as a caring need and relationship. Donal is fond of shooting rabbits for a stew and his country and western music, which is not a rarity here and he listens while he fixes old cars or does work on anything that takes his fancy , away from the tedium of routine farm work. Into his existence comes another star of the film a neglected Transit as a payment for work on an old banger which he turns into his boys shed over a period of time.
Donal’s world becomes forever turned upside down when he catches the wrong end of an act of violence one night at his own home. An absentee from the film are the Police except for the presence of two Detectives (back view only) as a result of this disruptive and gruesome act of violence at the farm. This is quite probably due to it being entirely filmed here in Northern Ireland were the risks of reprisal are clear sadly and it may be why ‘impersonation’ was not an option. From then on in the violent frenzy that happens they are not to be seen. Filmically too is a stoic political call by the Director/Writers on the Scandinavian noir of clever troubled detectives not being a Northern Ireland familiarity. (Shallow thought!) Crime fiction is a local speciality (look up No Alibi’s independent bookshop) and like this film it is seldom a reflection of more destructive truth no matter where the written word takes you.
Donal is completely at a loss to explain why this atrocity has happened until he himself becomes a target of violence. Then the wheel turns and it is his turn to act. From small beginnings Donal is now the avenger/revenger and the genre becomes a wide expanse of multi-cultural links forming a jigsaw puzzle no one has completed image of and it is this we are drawn into. The Latin word, synonym, for incredulous is Aporetic. From the word Aporia which is thrust into and occupies much of Northern Ireland rhetoric. The film could have appropriated that name. A local artist, Gail Ritchie has a forthcoming show at Platform Arts Belfast on external War memoria which will co-incide with all kinds of Remembrance. This film is about not knowing the full story as people never do.
Aporia : a difficulty encountered in establishing the theoretical truth of a proposition, created by the presence of evidence both for and against it.
For empathy and good versus evil there is no actual clear station of rectitude or resolution. Once Donal is in his revenge mode he looses any rationality or credibility. One feature of the film poster is its likeness to the Spaghetti Western standards, Django, Fistful of Dollars or the one with a Belfast connection – A Town called Bastard starring Robert Shaw of (some connection!) to these parts. This genre approach is a virtual context and allusion which is narrowly made. Comparisons of inner city hoods can be found in the Dublin centric Cardboard Gangsters reviewed here earlier. (Put the film name in the white box top right to obtain the post likewise other notable films)
While it is true the chronic violent riddled town/city certainly Belfast and Northern Ireland has been, with its tragic magnitude of violence and as it still has hurt as an undercurrent to the everyday, the post traumatic shock has embedded in many citizens whether directly affected or not. Hence the medical bill. Other cities are subjected to variations of the lack of moral discipline and the film tries to reflect here in Belfast the story of families affected by their tragic misfortune and wrong choices theirs or others. I happened to be re-reading a chapter or two of the 2000 book, Northern Protestants – An Unsettled People by Susan McKay which documents district by district across the province the interrelation of acts of destruction and their impact and legacy left of very similar disregard for life. The untenable becomes tenable and the ‘new normal’ (media speak), goes further as past lives causal projection is cyclical which is seen as one of the most forceful effects of this film. Unforgiving and God forsaken is the message to be taken in deploring all acts of violence and the meaningless outcomes they accumulate. The ‘actors’ of violence perpetuate the hurt creating new grave passages.
New times have arrived and racketeering and the gangster riddled combatants work the undercurrent of a superficial peace. Memories and family stories are woven in a weave no one has a complete picture of. Aporia. An unlikely mobster is a family woman. Susan Lynch plays her femme fatale best inhabiting the part brilliantly, her face expressing rage, inner strengths, bitterness and she conveys potent sexual latency as a jewel among thorns. As a highly driven woman her role is large in the film as she is intent on achieving her objectives regardless of the cost but with a motherly hand towards her own daughter in contrast to her own past. So two vengeful people are the at the centre of the story and the opposites create a battle of wills. Let the contest begin or as Northern Ireland has it continue.
Without a male partner she runs a prostitution racket with her stock and trade initiating in a bodies count, a ruthless and violent streak of heavy malevolent business as she tries to remain in control. There is no indication for the largesse of wealth, – ‘the drive’ is Belfasts go to hidey hole, – she has become used to as she brings up a single child, 5 year old daughter whose exposure to the everyday business is mostly obscured though Mother does let her mouth loose with words and temper tantrums no child should be witness to. The script realises it but it is ‘accomplished’ in one or two scenes.
The lead male character and co-driver of the film is the large stocky farmer we know called Donal O’Neill, played grittily and with determined off the scale rage, a man in his fifties whose part in the machinations or outcomes of the ‘troubles’ is miraculously innocent and of little affect. How he has avoided the obvious is not clear. His mother Florence is portrayed by Stella McCusker, whose part requires a completely convincing woman carrying as many women in the country do, a burden of grief and remorseful tears locked up and unseen while secrets are held. Stella McCusker carries it off superbly in a sensitive subtle nuanced way, with her reservoir of theatre and film expertise, the convincing portrayal of a woman with memories, secrets, worried but still in charge of her own world courting for us nevertheless a source of intrigue. Acting as a shield to others, her offspring, her peace is disrupted as the past unravels.
The film opens with to revenge taken on a man in palliative care with a breathing mask filling his lungs with oxygen while he is in the last stages of life. Lalor Roddy is the man. With his usual prime attendance to his craft he opens the film in an interesting short introduction which turns out to be a flashback.
From there the action returns to the present and a Northern Ireland picturesque and getting along nicely with the entrails of back office culture jobs and telephone call centres in the very heart of Belfast City. New tech and science STEM is a sole captivator of nuanced 21c life. Sidelines are the artistic interpretations. Game of Thrones being only a symbolic us of this Ulster theatre in a vaguely conjectural transportive escape. Capers and criminality is a parallel world real and unreal. Life in redressing the postcard image is on message. Any murky past is not for outward consumption. An archive of injustices and the undealt with past is locked up in memories along with state and terrorists files never to see new light. Property is lush and shows signs of prosperity as the braces are attached to pull up the ragged trousered philanthropist cloth of the Linen City in true entrepreneurial Ulster style.
The past traffic of ingenuity which was and still holds up, is scotched by the economic equator we live on. New commerce a roguery is the diet we enter. The other villainy is the stock and trade of impure violence.
The vision in the film is of the fictional underworld in a confined and largely inaccurate form. It is a fiction based on contemporary instinct. No telling of the real story would be sufficient as access to understanding. These strands are separated and contingent on whose version of events you believe.
The truth would be completely scary and would in many cases lead to greater unconstrained levels of revenge violence – excepting the likehood generations are unlikely to form into self-destructive groups – except the no-hopers hanging on to the coat-tails of handed down myth as a means to lever power and accentuate their projected legacy of ill read history and infect new generations with their appalling virus.
Whether the film is embraced as a depiction of a society continuing to be incapable of dealing with its past and truth hidden harbouring realities of unspeakable betrayal and insurgence is questionable. Outside the Island the narrative will come across as a unnerving catastrophic revenge movie full of provocative instinctive shades of red mist exploding causing more cyclical damage and as an action piled up body count it puts it on the same shelf as revenge thrillers of equal intensity – it will be interesting to hear how the Chinese subtitled version went down. It is already out of the blocks as it premiered at The Egyptian Theatre at the Sundance Festival last year and Edinburgh Film Festival and was locally was the closing film of the Belfast Film Festival of this year.
Because it is adult cinema and particularly a local community based narrative with a fictional web making connections to many people’s lives and understanding of the legacy in their lifetimes, it is to be toured across Northern Ireland in venues chosen to bring out a wider audience than the ‘Moviehouse’ screens across the province. The tour dates are below. As a film of universal cinematic value it also is intentionally provocative and any tool in the box – lead character Donal is a man whose ingenuity is seen as someone who reaches more than metaphorically for what’s handy, ‘that ‘ill do the job!’ – which makes people deal with their own past and the get on the path to resolving differences of blockchain theory’s in their heads. New light and fresh dilemmas are surmountable only if the past is recalled with truth and remorseful probity.
Polish actor Józef Pawlowski as Bartosz, Anna Próchniak as Kaja, carry the new international phenomenon of a transitory youth into Belfast and Ireland. Neither have a desire to remain here and one of them has stronger reasons than the other to get out. By scoping out the story the writers bring a reality of immigrants settling in a cove of their own narrowness through concern of not belonging and integration torturous and complex with the backdrop of sectarianism on acting on their will. Existinence is survival to be built on. The tailoring of other characters, chiefly the hoods is deftly cast. Florences younger brother Eamon (Ian McElhinney) is a townie who keeps himself away from trouble and leaves it in the past. Stuart Graham playing Trevor Ballantine who is the no.2 to Frankie likes to be suited and clean shaven. He gives off an air of being on the precipice of incompetence while unaware of were he is and what his motivations are. Why he chose the work is pure guesswork and he is always one step behind the curve. Frankie on the other hand is a woman who is compelled to joining the action as her edifice crumbles. Bartosz and Kaja are in this drama up to their necks and centrally Józef Pawlowski excels working alongside this mad bunch out on the edge of their acting chops and getting into it with as much nuance as his eyes can convey. A learning experience for all no doubt.
Like a narrow gauge railway traveling too fast this is a train of thrilling revenge souring and escalating beyond redemption and for practically all on its journey the lurching and weaving slow down and wrong turns add up as the film careers out of control down into some soon to be discovered abyss. Then there will be silence. There will be liberty. There will be peace. Not on these terms the cast say. We need a result to suit our knowledge and our grief is the premise. We do it for the sake of everyone gone before and to follow. By being completely deranged ejjits high on the adrenaline rush of survivors instinct they boil the stew of violence into a deathly conclusion. The deliverance is summoning up lots of sage parables while partly glamorising the affects by not making it dark enough. They skip the bloodied heads, the unrecognizable body parts (I conject for the possible scenes the viewer may or may not see!) and it draws back to gain audience retention yet is still Cert. 18. A badge of dishonour? It becomes a shade predictable and no character really is seen as someone to empathise with save the foreign ‘visitors’. Those need foreign audiences.
Be warned it’s mad and at times bloody and totally bonkers. It has a feel of a step back to following in the aftermath of spaghetti westerns trying to find a new field. The field is Belfast/Templepatrick with the North Coast of Ireland thrown in for chutzpah. Slightly demented but truthfully entertaining as a misguide to the violence around us.
20 October 2017
The 8:30 pm screening on Tues 24 Oct at QFT will be introduced by writer/producer Brendan Mullin and writer/director Chris Baugh. After a run at Queen’s Film Theatre (20 – 26 Oct) the tour calls at:
The Picture House (Ballyclare) 28 Oct
Portrush Film Theatre 9 Nov
Subterranean Film Club (Omagh) 10 Nov
Dungannon Film Club 15 Nov
Fermanagh Film Club 15 Nov
Newcastle Community Cinema 18 Nov
Foyle Film Festival (L/Derry) 23 Nov
Tí Scannán (Mullaghbawn) 1 Dec
Some events will also feature Q and A session with Chris and Brendan (tbc) so audiences will get to hear the (literally) gory details of the process of making the film and taking it to the big screen.
This is not a widget! See below.
Donations welcome! To keep me going!
To donate use this link.
The reality predicted in around the late 1960’s by Guy Debord never took on the self-radicalization of people as combatants for nations but it has tangible companionship as his fellow traveler Raoul Vaneigem accounts in The Revolution of Everyday Life. It is a form of prophecy as is the intended alteration of history which combatants always see as their revolutionary act in their age. The violence continuing on a scoping out of spectacle for themselves. We are not just talking about the phenomenon of ‘Mad Men‘ and spin but the vestigages of memory remployed as almost regal revelatory mindful discovery.
“Inauthenticity is a right of man … Take a 35-year-old man. Each morning he takes his car, drives to the office, pushes papers, has lunch in town, plays pool, pushes more papers, leaves work, has a couple of drinks, goes home, greets his wife, kisses his children, eats his steak in front of the TV, goes to bed, makes love, and falls asleep. Who reduces a man’s life to this pathetic sequence of cliches? A journalist? A cop? A market researcher? A socialist-realist author? Not at all. He does it himself, breaking his day down into a series of poses chosen more or less unconsciously from the range of dominant stereotypes.”