Calvary
Director: John Michael McDonagh
Cast: Brendan Gleeson, Chris O’Dowd, Dylan Moran
Length: 100 minutes
Country: Ireland, UK
Calvary certainly had high expectations to meet: addressing the complicity of the Catholic Church in Ireland is bound to draw controversy. Also, this is director John Michael McDonagh’s follow-up to The Guard, one of the most successful independent Irish films to date. Fully aware of its power to shock and with strong performances from some of the biggest names in Irish cinema, Calvary is a must-see that certainly hits the mark.
The film grips you for the start with a shocking first line. In the confession box, a parishioner announces that he was abused as a child by a member of the clergy and threatens to kill Father James (Brendan Gleeson), who, as the representative of the Church, must pay for its sins. The date is fixed for the following Sunday and thus begins the reverse whodunit, and as the priest goes about his duties, we look for clues as to the identity of the killer.
But don’t expect any dynamic plot, or, indeed, any plot twists. The scenes do not build a narrative tension. Calvary is fundamentally interested in the human character, and how the sex abuse scandals have impacted the faith of Irish communities. It does not want to revisit history as was done in the Oscar nominated Philomena earlier this year, a film likewise based on the scandalous actions of the Catholic Church in Ireland. What we get is an insight into the relations between the Church and parishioners through observing day to day life and interactions. The dialogue seems in parts unnatural, almost theatrical and speech-like. In fact, the portrait of a small Sligo community seems inspired by Dylan Thomas’ Under Milk Wood, itself a play made for radio.
Calvary is fundamentally interested in the human character, and how the sex abuse scandals have impacted the faith of Irish communities. It does not want to revisit history as was done in the Oscar nominated Philomena earlier this year, a film likewise based on the scandalous actions of the Catholic Church in Ireland. What we get is an insight into the relations between the Church and parishioners through observing day to day life and interactions.
Were it not for the stunning aerial views and breath-taking scenery of the Irish countryside and coast, you would think that the characters were living in some type of miserable wasteland. The village is populated by thoroughly dislikeable and cynical characters, any of whom have the potential to be the killer. They all have their flaws. This is a slightly misguided directorial choice. At times they can become overly obnoxious, especially in the case of the cocaine sniffing doctor who is keen to taunt the priest with tales of medical accidents. However, this shows the extent of McDonagh’s pessimistic view of Irish society post-Crash and Catholic Church scandals. Despite continued Church attendance, the villagers show little respect to their local Priest. The butcher’s wife purposefully tells of her adulterous escapades and the mechanic threatens him with violence and flicks cigarette ash at him. Even though Father James himself is not implicated in any scandal first hand, we are constantly reminded of the strong opposition to the Catholic Church. A tourist whose daughter was having a friendly conversation with father James furiously drags her away, as if children talking to priests had become a crime. From every corner of the small rural community the traditional obedience to the Church is challenged, and the future of the Church looks grim.
Adultery, drug use and prostitution seem to be well-established in this small community, and are no longer discreet and hushed up. The focus loss of traditional mores is perhaps a hidden criticism of the greed which drove the Celtic Tiger years and the financial crisis, and which has caused scepticism and disillusionment. The failed financier played by Dylan Moran is the symbol of this. His richness means nothing to him and has made him unhappy, and has not benefited the community either. The pub is on the brink of closure.
Yet the film’s message is left open to interpretation, and it is quite unsatisfying. There is the suggestion that grief can only truly be experienced first-hand and forgiveness emerges as the main theme at the end of the film. The priest is affected more by the death of a pet than the confession of the horrific abuse suffered for several years. McDonagh’s message with regards to the Catholic Church is not black or white. We are left to ask ourselves how much the people can forgive the Church, and whether it’s necessary or an appropriate action given the torment of abuse.
Gleeson thoroughly deserves credit for his touching performance. He embraces the role of the recovered alcoholic ‘good’ priest, and his comedic timing is spot on. It is his acting which ultimately really makes the film. Overall, Calvary is a sound exploration of Ireland in the wake of diminishing faith, and if the plot does not satisfy then the acting and smart dialogue sure will.
Calvary is playing at Warwick Arts Centre Friday 2 – Thursday 8 May
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