I am not overly familiar with Martin McDonagh’s stage plays – I’ve only seen one, and haven’t read any of them. I have however, seen all of his films – In Bruges, Seven Psychopaths and Three Billboards… and I can say with confidence that I am a fan.
Having said that, I was unprepared for just how wonderful I found Banshees to be. This isn’t going to be a super in-depth breakdown of the thing, as I feel unqualified and uninspired to write about the socio-historical background of the Irish Civil War which serves as a subtle backdrop to the piece. Indeed, more knowledgeable writers have drawn parallels between the central conflict of the two main characters and the historical conflict happening in Ireland at the time (1922-23), and knowing a bit more about it will deepen your appreciation of McDonagh’s narrative choices, especially the divisive ending.
So instead, I will reflect on my personal response to the film, and I have to say I believe it to be a masterpiece. It is certainly one of my favourite films of the year, which will surely not be a controversial stance when the major film journalists out there draw up their own definitive lists. It is beautifully shot, with the cinematography often choosing to focus on a more distant shot to enforce the emotional distance of the characters and a great deal of beautiful yet bleak western Irish landscapes highlighting the loneliness of Farrell’s Padraic and the longed-for isolation of Gleason’s Colm. It is subtly symbolic without hitting you over the head with that symbolism, and does great work of using the visuals to better anchor the themes that the characters struggle with.
The four leads are all, as far as my opinion is concerned, perfect. Sure, it doesn’t make a lot of sense how Colm chooses to go about enacting his decision – no explanation given (at first) and no grace period granted, when he should be fully aware that Padraic would struggle with this decision; and when he doesn’t, the drastic measures to make it happen that Colm is prepared to take seem extreme and very quickly arrived at (One of my most laugh-out-loud moments had Padraic stating as much immediately after finding out Colm’s plan) – but Gleason sells it with an unmalicious weariness that is utterly believable despite the unbelievable situation. His performance is understated, soulful and confident even as his character is (arguable) patronising, insulting and selfish.
Barry Keoghan as Dominic, in what is sure to be seen as a scene stealer by many (and I’d be hard pressed to argue that point) is of a higher energy, but equally nuanced. Dominic is rather uneducated, quite naive in his view of the world – especially of women – and surprisingly insightful, played with a sense of bewilderment and acceptance, and an almost attention-deficit level of energy. He’s a foul mouthed, randy little sprat but I couldn’t help but love him. I was on edge every moment he was on screen, thinking he was about to turn dark at any moment, which made his final scene with Siobhan and his characters ambiguous resolution even more touching and heart breaking. The writing was sublime, and in Keoghan’s more-than-capable hands, his character and his arc will stay with me for a long time.
Speaking of Siobhan – Kerry Condon has the ‘straight man’ role as the most sensible person on the Island, and one of only three women with a speaking role (the others being: a malicious gossip of a shopkeep; and an elderly lady who is – if a particular reading is to be made – a banshee herself). As Padraic’s wannabe-librarian sister, she is warm, honest, tender and assertive, giving us plenty of very funny moments as well as some of the most touching (the aforementioned encounter with Dominic). Though she absolutely plays third fiddle to Farrel and Gleason, the role couldn’t be said to be ‘supporting’ as much as it is the glue that holds so much of the narrative together and Condon relishes the different brushes the script gives her to work with. I’m hoping for at least an Oscar nod for her, though I can’t say I can imagine many performances this year being ‘better’.
Colin Farrell gives a career-best performance as Padraic – the protagonist of the story, and one of life’s ‘good guys’. In a role that isn’t a million miles from Forrest Gump – simple, not terrible cerebral but amiable at all times (at least for the first two acts) – it could have been easy for this character to be rather facile and ‘likeable’ but Farrell swings from pleasant to wounded to vengeful so quickly and so easily, you never grow complacent with Padraic nor forget him in favour of the other (wonderfully portrayed) characters. Every reaction, every thought that Padraic has, every confusion and decision flickers across his wonderful face (with some of the best eyebrows in the business) with such dexterity and clarity that I truly felt empathy for this man in a way I rarely do. The character is, as with Colm, self absorbed and immature, but through Farrell’s performance I was willing to forgive him and genuinely felt animosity towards Colm for not being more gentle with his decision.
The musis is suitable beautiful and helps to underscore the emotional journey of the film – I feel I need to hear more of it to truly do it justice. Colm’s composition, the titular ‘Banshees of Inisherin’, is a very good piece of music but is it good enough to justify hurting so many people? Will it be remembered in three hundred years?
This is a film which precedes every heartbreak or shocking moment with chains of mirth and incredulousness with expert aplomb – it never gets too silly or too sentimental, but the ebbing and flowing rhythm of the comedy/tragedy tide sweeps you in and out so well that when the final frame arrives, it feels perfect.
Slight spoiler alert in this paragraph – you have been warned. Many critics – though not all, by any standard – have mentioned that the ending is disappointing, or that the unresolved nature of the quarrel that is the main plot ends feeling hollow. I could not disagree more. I felt that where Padraic is left, and the destruction that has been wrought on both men (and indeed on Dominic and Siobhan), was a beautiful ellipsis on which to step away from the story. Sure, it isn’t resolved – but it feels like it doesn’t need a resolution, indeed I can’t imagine a resolution that would have been more satisfying that what actually happened. Should they have patched things up? Should their relationship be permanently ended (as their friendship surely is)? Should Padraic have left? Should Colm? Nothing feels right except what was there – the relationship is irrevocably changed by Colm’s decision, Padraic’s reaction, Siobhan’s future and Dominic’s fate, but nothing is tied up in a neat bow.
It is a sad, beautiful, funny, subtle black comedy/comedy drama that matches a whip-smart script with four of the finest performances this year – and if there were any justice in the world, it would make all the money, win all the awards, or better yet… both.