12/31/14 (Part Three): Bless Me Father, For You Have Sinned

Tags

absentee father, Aidan Gillen, Best of 2014, Brendan Gleeson, Calvary, Catholic church, child molestation, Chris O'Dowd, Church sex scandal, cinema, dark comedies, David McSavage, David Wilmot, Domhnall Gleeson, dramas, Dylan Moran, estranged family, father-daughter relationships, favorite films, film reviews, films, foreign films, forgiveness, Gary Lydon, Irish films, Isaach de Bankole, John Michael McDonagh, Kelly Reilly, Killian Scott, Larry Smith, M. Emmet Walsh, Marie-Josee Croze, Movies, New World in the Morning, Orla O'Rourke, Owen Sharpe, Pat Shortt, Patrick Cassidy, revenge, Roger Whittaker, secrets, set in Ireland, sins of the fathers, small town life, The Guard, writer-director

In a small, dim confessional, Father James (Brendan Gleeson) is calmly told by one of his parishioners that he is to be “sacrificed” the following Sunday, made to die for the sexual abuse that the unknown man suffered at the hands of another priest when he was a boy. The offending priest has since died but the man isn’t interested in making a “bad” priest pay: he wants Father James, a “good” priest, to take a bullet, since the Church will feel his loss harder. “Nothing to say, Father?,” the mysterious man asks, when he’s finished passing his judgment. “I’m sure I’ll think of something in a week,” Father James sardonically replies.

The week leading up to that fateful Sunday forms the crux of Irish auteur John Michael McDonagh’s amazing Calvary (2014), the stunning follow-up to his masterful debut, The Guard (2011). During that time, Father James will reflect on his own life, his failings, his victories and his faith. He’ll spend the time wandering about his tiny, coastal town, making small-talk with the parishioners, these “friends” and neighbors who secretly wish him dead, despite their smiles and condescending good natures: after all, he immediately knows who the wannabe assassin is, even if we don’t…in a town that small, everyone knows everyone else, regardless of the supposed “anonymity” of the confessional window. Despite his knowledge, however, Father James will go through the motions, investigating each “lead” as if it were a Holmes-worthy clue, biding his time until that inevitable, fateful meeting on the beach. Despite his own innocence, Father James is more than willing to become a victim, a sacrificial goat, if that’s what his town needs to heal…to keep on with the drudgery of life under the age-old grip of the Church, Ireland’s bloody past and its uncertain future.

From the jump, McDonagh’s Calvary grabs a hold of you and never lets go: from the great opening quote, by St. Augustine, to the haunting, empty Irish landscape shots that play over the final credits, this is a film that is so exquisitely crafted that it’s almost a Swiss clock. There’s an overarching sadness to the film, a sense of fate and inevitability that cuts across any of the film’s many joyful moments (there are plenty) and underlines all of its most dramatic ones (likewise, plenty). Truth be told, Calvary is one of the saddest films I’ve ever seen, although its sorrow is a mechanical heart, beating deep within the film’s chest and nearly invisible to the naked eye.

There’s a lot going on in Calvary, although McDonagh’s excellent script manages to make everything fit, even if it doesn’t always tie it all together with a big, red bow: the estranged relationship between Father James and his grown daughter, Fiona (Kelly Reilly)…the way in which the entitlement of the upper-class continues to determine the fate of the poor working stiff, as embodied by Dylan Moran’s boozy lord, Michael Fitzgerald…the way in which the terrible economy and bad housing market have conspired to marginalize the middle class nearly to the point of extinction…the importance of forgiveness in a world that would rather focus on punishment…the way in which the Catholic church’s priest sex scandals continue to influence and change the complex relationship between the clergy and the common people, slowly turning blind devotion into something more closely resembling abject hatred…the necessity of sacrifice as a form of healing…despite this wealth of themes and big ideas, Calvary never feels weighted down or overly preachy (no pun intended).

One of the things that helps Calvary stay afloat when other films might have sunk under this much ambition is the way in which McDonagh subtly uses humor (sometimes bright and laugh-out-loud funny, other times so dark and mean-spirited as to be practically unrecognizable as such) as a means of guiding us through the dark. As previously mentioned, Calvary is an intensely sad, unrelenting film: the characters that haunt its halls are such twisted, wretched, damaged individuals that this streak of gallows’-humor is an absolute necessity. When one character melodramatically describes how his “whole life has been an affectation,” Father James quietly responds that “that’s one of those lines that sounds good but doesn’t make much sense.” We need to know that Father James is keeping his chin up and taking it all in stride because, otherwise, we would never be able to take this journey with him. At one point, Freddie (Domhnall Gleeson), one of James’ former students who’s now locked up for killing and cannibalizing a young girl, plaintively asks the priest: “God has to understand me because he made me, right?” After a beat, Father James replies, “If God can’t understand you, no one can.” The dark streak of humor functions in the same way, reassuring us that things in Father James’ world are never quite as grim as they seem to be, even when our heart tells us that they’re actually much worse.

As with The Guard, McDonagh populates his film with a host of impressively individualistic characters: stellar actors like Dylan Moran (of Black Books fame), Chris O’Dowd, David Wilmot, Aidan Gillen, Gary Lydon and even good, old M. Emmet Walsh (looking positively ancient but sounding just as great as ever) all show up and help weave the intricately intertwined tapestry that forms the fabric of the film. Kelly Reilly does some great work as James’ estranged daughter and I must admit to rather loving Killian Scot’s ridiculously over-the-top performance as Inspector Stanton’s gay, tough-guy lover: it’s a blustery, obnoxious performance with just enough underlying sadness and vulnerability to sell the whole thing, part and parcel.

Towering over everything like some sort of enormous, cassock-clad, bearded Colossus of Rhodes, however, is Brendan Gleeson. Easily one of the best actors working in film today, Gleeson seems to spit out amazing performances like this in his sleep: he’s like the male, Irish Meryl Streep, completely incapable of phoning anything in or giving any less than 1000%. Gleeson isn’t acting: he IS Father James, from head to foot, inhabiting the character so completely that any notion of mimicry goes out the window. There’s not one moment in Gleeson’s performance, one single iota, that ever hits as anything less than completely authentic and genuine. It’s a heartbreaking performance for a number of reasons but the main two are pretty simple: Father James seems like a genuinely nice person and Gleeson brings him to life in a way that makes us know and feel for him. We don’t need to take a side, one way or the other, to feel the tremendous tragedy, the complete unfairness of Father James’ fate: Gleeson makes us feel it because we don’t have a choice.

Craft-wise, Calvary looks and sounds amazing: cinematographer Larry Smith, who also shot Nicholas Winding Refn’s Bronson (2008) and Only God Forgives (2013), turns the emerald greens and azure blues of the Irish countryside into one of the film’s main characters. There’s an impressive sense of space and isolation that perfectly meshes with Father James’ own “man without a country” status in the town and some of the sweeping vistas are so gorgeous that they resemble something out of a travel program. The score and sound design are also expertly realized: one of my very favorite scenes, ever, has to be the one where Father James prepares to leave town, set to the tune of Roger Whittaker’s soaring “New World in the Morning.” The scene is such a perfect synthesis of song and visual, so emotionally wonderful, that it, literally, took my breath away…even thinking back on it now, I find myself getting a little emotional, which is surely the mark of an indelible moment.

All in all, Calvary stands as yet another absolute home-run for McDonagh, a filmmaker who has quickly established himself as one of the most formidable around. Truth be told, I still find it hard to believe that this is only his second film: quality like this should be the result of a lifetime spend honing one’s craft, not the span of four or five short years. From beginning to end, Calvary is a nearly flawless character study and one of the very finest films of this year (or many others, for that matter). For anyone lamenting the lack of quality, “adult” entertainment, look no further than Calvary: it just doesn’t get much better than this, folks.

11/16/14 (Part Two): The Dance Commander Cometh

Tags

British comedies, childhood trauma, Chris O'Dowd, cinema, comedies, Cuban Fury, dancers, feature-film debut, film reviews, films, foreign films, Ian McShane, James Griffiths, Kayvan Novak, Movies, Nick Frost, Olivia Colman, public opinion, Rashida Jones, romances, romantic rivalry, romantic-comedies, Rory Kinnear, salsa dancing, Strictly Ballroom, UK films

Fear of public ridicule can be a powerful mitigating factor, even for those of us who consider ourselves “above” such considerations: it can affect how one dresses, walks, talks, eats and slurps soup. Concern over our own self-image can result in “guilty musical pleasures,” “ironic” interests in pop culture and “hate-watching” programs rather than admitting to actually liking something “uncool.” If you think about it, it’s a pretty sad way to live: so concerned with the court of public opinion that you’d rather listen to something “respectable” than blast the Eddie Money cassette that you idolized as a kid. When folks can no longer feel free to leave the house wearing their most comfortable clothes, ladies and gentlemen, than the terrorists, whoever they may be, have truly won.

Bruce Garrett (Nick Frost), the heroic schlub at the heart of James Griffiths’ Cuban Fury (2014), knows all too well the high price of looking “uncool”: as a kid, Bruce was a salsa-dancin’ machine, a bespangled dance floor maestro who had the goods to go all the way. On his way to the championships, however, poor Bruce is accosted by a group of loutish teens who mock his shiny red outfit and beat the crap out of him in an alley. Properly chastised, our faithful protagonist vows never to dance again. We, of course, know better: once the dancing bug has bitten you, all you can do is hold on for dear life.

25 years later, Bruce is a buttoned-down, boring as white toast architect and any dreams of championship gold are too far in the rearview mirror to even consider. He’s got a decent job, a boring life and one of the biggest shit-heel co-workers of all time in Drew (Chris O’Dowd breaking the bank on obnoxious behavior): in other words, he’s probably like most of us. Unlike most of us, however, Bruce has got the dancing fever in his veins and, once in your DNA, you’re never completely free of it. All it takes is a little nudge, a wee reminder of how things used to be…how they could’ve been had the fork in the road gone a bit differently. All it takes is one little incident to change everything…if you let it.

Bruce’s “little incident” comes with his company’s new project manager, the adorably quirky American Julia (Rashida Jones). Bruce is sweet on her but she seems to be way out of his league, although horn-dog Drew, ever the cretin, sees her as “easy pickings.” When Bruce finds out that Julia is taking a salsa dancing class, he suddenly sees an in with her, although it means stepping back into his dreaded past and, once again, donning them dancin’ shoes. In order to prevent himself from looking like the rusty, out-of-step idiot he currently is, Bruce hunts down his old salsa coach, Ron (Ian McShane), and begs him to finish the tutelage he started 25 years earlier. Ron’s still a bit pissed off at Bruce, it turns out (being abandoned by your star pupil during a national championship will do that, apparently), but he eventually shelves his hard feelings and agrees to get Bruce ship-shape enough to duly impress Julia.

Since romantic comedies are nothing without a little rivalry, Drew decides that he’s in love with Julia, too, and determines to sweep her off her feet faster than Bruce can say “cha cha cha.” As he smugly puts it, “Women go and get advice from guys like you about guys like me.” This establishes a rivalry between the two that will result in a parking garage dance-off (impossibly silly but also fun) and will culminate in another salsa championship: will Bruce be able to overcome his old fears, put Drew in the rubbish pile, win the competition and get the girl or will this be another example of “too little, too late?” If you’ve ever seen another romantic comedy in your entire life, I’m reasonably sure you can figure out the answer to this ahead of time.

First off, Cuban Fury might seem a little familiar to fans of quirky British comedies since it is, for the most part, exactly like at least two dozen other similar films, from Kinky Boots (2005) to Brassed Off (1996), from The Full Monty (1997) to Calendar Girls (2003). Specifically, Griffiths’ feature-debut reminds me of the cult-classic Aussie flick Strictly Ballroom (1992), which was also about a neebish overcoming the court of public opinion to succeed on his own terms. For the most part, Cuban Fury does nothing to differentiate itself from the rest of the pack although, to be fair, there’s not much it drops the ball on, either. All of the expected beats/scenes are here: the bit where Bruce’s gay friend finally drags him to a nightclub to “let loose”; the dance-off between Bruce and Drew; the climatic finale at the salsa championship; the training montage…Cuban Fury manages to tick each and every one off the list.

Truth be told, despite its complete familiarity, Cuban Fury is a fun, sweet and spirited little film, full of great performances from the likes of Frost, Jones and O’Dowd (even playing a real asshole, O’Dowd is relentlessly watchable and charismatic: anyone else would have played Drew like a complete Neanderthal but O’Dowd somehow makes him kind of pitiable…kind of) and is a quick, fun watch. The script, written by Jon Brown from an idea by Frost, is full of some nice dialogue (Bruce and Drew trade some snappy zingers throughout the film) and everything gets wrapped up in a pretty tidy package by the end. McShane is great as the grumpy salsa expert, although Jones doesn’t do much noticeably different from any of her other roles: she has some decent chemistry with Frost but no one will mistaken them for star-crossed lovers anytime soon. The film’s many dance scenes are nicely realized, with some effective choreography but, again, nothing mind-blowing: this probably won’t make anyone forget Luhrmann’s debut any time soon.

More than anything, my takeaway from Cuban Fury is thus: if you’re looking for a nice, polite, fairly non-challenging romantic comedy with a good cast, Cuban Fury is for film. At the very least, I find it hard to believe that any audience would walk away from this without a smile on their faces. Will you remember the film a year (or even six months) from now? Highly doubtful. Not everything in life needs to be a grand slam, however: sometimes, you can get the same results with a humble little pop-up into the outfield.