Well, we are back, and yet again I write this film blog with a different Prime Minister in charge, albeit with a much shorter gap than last time. With the evenings becoming darker and colder, the cinema seems to be coming back into people’s minds. This also means the popcorn munchers, the bag rustlers and most callously the nacho crunchers. Despite the most evil specimens of humanity returning, we attempt to brave it as we have two absolutely brilliant films. The first of these is Decision to Leave
When the new Park Chan Wook film came out, I was ready to go and see it on my own. Alas, there was a delay as I was busy, before going to back down to my beloved Pompey. Little did I know that when discussing the films that were on at the Picture House in the City across the M27, mum would look at the trailer for this film and say she was interested. Are you sure mum? Yes. I didn’t want to fully put her off as I’d heard Wook had reduced his violence, but my knowledge of his films was the overly long sex scene in the Handmaiden and the horrible twist in revenge thriller Oldboy which saw the Protagonist unwittingly sleep with his daughter both of which would’ve lead to an awkward car journey hone. Despite my reservations, mum persevered so onwards we went. Thankfully, the film was fairly harmless, even better it was also quite the good one.Jang Hae-Joon is a gritty, insomniac detective. Living away from his wife to work in Busan, life isn’t great. He’s struggling to sleep, with his unsolved cases looming over him and is falling out of love with his wife. His work is his true obsession. However, a new obsession wanders into his life in the form of Song So-Rae, whose husband has just died having fallen off the top of a mountain. A potential murder suspect, this young and beautiful woman becomes his life. He has to stake her out and get into her head to work out if she murdered him. At the same time, he starts to fall in love.
This film really feels a sweet blend of genres. Some noir detective film, also quite the romance it finds its feet in a lot of areas, switching between the two and intertwining them. The film wears its inspirations on its sleeves, playing like a Hitchcock picture at times, giving strong Vertigo vibes. Even the interesting smorgasbord of camera shots show this, whether through the water or at a quirky angle. Each small homage shows a film of old, yet with a modern feel. This is a 21st Century Vertigo, and that’s never going to be a bad thing.
For such a concept to work, the script needs to be water tight and it is. The obvious and hidden in plain sight lead to a great mystery, while the dialogue between Hae-Joon and So-Rae is intoxicating as they try and work each other out, with an increasing softness as he falls for her, poetically contrasted against the way he aloofly treats his wife . The moments of detective are serious, while some of the romance is almost comedic. There’s one point with a text conversation half way through which could easily be in any rom-com, then 5 minutes later back to murder.
Decision To Leave is both a thrilling noir detective film and a sweet romantic film. A brilliant script and acting makes this homage to films of old stand on its own two feet. [A-]
Decision To Leave is in cinemas now
Martin McDornagh has a special place in my film watching heart. Sure In Brugges was fine and Seven Psychopaths was mildly amusing, but when I went to see Three Billboards alone, that was the day I really got into films. Since then, that has been one of my favourite films, not just for being fantastic, but because of its impact. Therefore, I’m sure you could imagine my apprehension as a new film of his came out, The Banshees of Inisherin.
Banshees introduces us to a village island off the coast of Ireland in the 1920’s Irish Civil War. A simple place with a pub, a church, a small shop and a lot of farm animals, it’s fairly mundane. The film starts with Padraic (Colin Farrell) knocking on Colm’s (Brendan Gleeson) door to tell him it’s time for the pub. When Colm doesn’t come, Padraic feels uneasy as others ask if he’s done anything wrong. He thinks everything is fine, but Colm has decided he just doesn’t want to be friends with Padraic anymore.
Long story short, this film is definitely in my top 5 films of the year. A dark comedy, I can’t remember the last time I laughed so much in the cinema. The razor sharp script with incredible deadpan delivery lead to a regular ripple of chuckles from the audience which you don’t often see. A very British/Irish, dry style, the quips work with repetition much like a comedy sketch of old. When someone says something, it’s echoed back 5 minutes later in a whole new context. This script is ridiculously sleek.
The story really is almost rom-com esque in a style that it focuses on a break up. Some parallels are drawn to the mainland war, but this is really about the two leads. Padraic is mourning the loss of his friendship, almost going through the stages of grief. Colm is pushing, increasingly antagonising him. It is Padraic who we see have the most interesting narrative. He switches from being the village nice guy towards darker twists as the film goes on. He has two options. Does he remain similar to other nice village idiot Dominic (Beautifully played by Barry Keoghan) or does he become as cruel as the seemingly intelligent Colm.
Colin Farrell has to be in line for a Best Actor Oscar nomination (or even win). If not, he’s a nailed on ASBO winner. His delivery is stunning. Comedy performances are difficult, but his delivery as well as his facial expressions are top class. His character Padraic is meant to be slow and dull, and part of his charm is watching the character work things out a few seconds after everyone else. Despite the seeming simplicity, the script never gets to the point of parody.
Gleeson is also his usual class, as the grumpy man, while Barry Keoghan also plays a star turn. The real supporting star is Kerry Condon who plays Padraic’s sister Siobhan, an intellegent well read woman who doesn’t seem to quite fit into island life, with dreams of the mainland. She also remains Padraic’s moral compass, with an understanding of Colm’s character at the same time. However, her tact and niceness does a good job of contrasting him.
Where Martin McDornagh also succeeds is creating this atmosphere of Inisherin. The characters are all great, but so is the set. Whether we see sparse rolling hills or the old pub and shop, it all feels authentic and believable as a rural 20th century settlement. The town feels small as you only see what Padraic sees, allowing you to understand his whole life as every character seems to discover and react to him and Colm no longer being friends like it’s the biggest news to ever happen. Each character seems so odd to us, in a classically village way, that we get this charm and feel immersed in this place for a few hours, while understanding the characters in the story that feel trapped.
The Banshees of Inisherin is a class above other comedies. McDornagh’s funniest film, Farrell and Gleeson both eclipse In Brugges to provide a fresh, funny story in a beautiful remote setting. The simplicity of the story allows them both to shine as everything comes together brilliantly. [A+]
The Banshees of Inisherin is out in cinemas now
The Film Ramble 