Written by Elliot Carpenter
Edited by Ciaran Howley
The selection of films scoring across this year’s award season is insane. We cannot hide from the fact that 2022 was a spectacular year for film; the return of Brendan Fraser, the turning points in animation set out by Puss In Boots: The Last Wish, and of course the long-awaited sequel to Top Gun. Everything Everywhere All At Once (EEAAO), of course, has been branded the best picture of the year by the Oscars. Competition has been fierce. Amongst these, one film was lost in the crowd: The Banshees of Inisherin.
Martin McDonagh’s feature film documents the separation of two close friends - Pádraic (Colin Farrell) and Colm (Brendan Gleeson). It certainly isn’t McDonagh’s first time working with the pair, with the Irishman also directing Oscar-nominated In Bruges. Shooting on the west coast of Ireland brought some natural mise-en-scene opportunities, seized and executed brilliantly. The closing scene, doubling as a poster for the feature, offers desaturated views of the ocean waves and captures Ireland’s quiet beauty excellently. The film is a great visual experience: its symbolism within the internationally-originating ornaments within Colm’s house, the strong use of shadow within the pub scenes. One to watch, certainly, for lighting influence: Ben Davis’ cinematography experience is really highlighted within the gloom of the interior shots.
The feature undoubtedly doubles as an analogy for the Irish Civil War - Colm a metaphor for the IRA, and Padraic for the Free State. All Quiet On The Western Front’s view of war being pointless, causing completely unnecessary deaths is hugely reiterated. The thousands killed, specifically the several hundred civilians, in the civil war, earn representation, as do those who fled the fighting to seek a better life in England, or the US - or anywhere that they could avoid the conflict - in Siobhan. One hundred years on from the war, it highlights the unnecessary dragging of a whole nation into combat over a small matter. The pair’s fallout was over Colm merely ‘not liking’ Padraic - how is this allowed to escalate so far? The same questions are asked of the civil war. Bringing new awareness to the war and Ireland’s historical conflicts is not easily done without boring an audience - but Gleeson and Farrell’s portrayals check that box with ease. The performers’ off-screen relationship is really evident on screen, whether it’s in Ireland or Bruges - despite what both films’ Oscar snubs would tell you.
The overall metaphor is visibly the main focus, established by the almost completely Irish cast and production crew. However, what makes the picture so captivating is its ability to engage with the audience through the plot itself. Even without understanding or recognizing the underlying themes of Ireland’s past, the strong dialogue and action is fascinating. I’d argue that you could change the entire location. Shoot in an isolated area of Wales, strip away the Irish accents and the film is still entirely worthy of attention. Less so, admittedly, but the plot and events remain captivating. It’s certainly a film that’s easy to relate to - the ‘intelligent’ representative, Siobhan; the ‘dumb lad’ representative, Dominic; the depressed Colm - Padraic, labelled ‘a bit dull’. It’s quite easy to ‘choose your fighter’ in regards to their situation or mental health. A spectator is certainly encouraged by recognizing similarities between themselves and a character, and the film allows for that kind of synthetic relationship to be formed. Spectator appeal is massive, and to do that utilising characters from a century ago, with a completely incomprehensible setting for most viewers, is incredibly unique.
Colin Farrell, too, is outstanding. His performance has been swept under the rug throughout the whole of the awards season, being beaten by Brendan Fraser’s comeback role in The Whale in the ‘Best Actor’ category of the Oscars, and being branded supposedly incomparable to Austin Butler in Elvis. Receiving a Golden Globe award for ‘Best Actor in a Musical/Comedy’ feels almost like an insult. As if to say ‘Sorry, we won’t bother to nominate you for Best Actor, so we’ll put you in this sub category instead, and act like it means the same.’ Austin Butler took home the main trophy. But why? Because he’s stuck with a stupid voice, and he can dance on the Jimmy Fallon show? He wasn’t even the best option for Elvis. Look at Miles Teller: his face, his acting ability. Tell me he wouldn’t have been a better fit to play Mr Presley. Farrell’s performance was far superior than Butler’s in my books. Colin defines the film - Butler is entirely replaceable. Give the Seven Psychopaths star some form of an American accent, and he’d suddenly have a few more big awards to his name. Barry Keoghan’s performance, compared to others in his category, absolutely stuck out, too. Of course, his ‘Best Supporting Actor’ award would naturally be taken by Ke Huy Quan. What do you have against Irish people, guys? Every award, everywhere, all at once, went to that film that night. I have to wonder what that obsession was spurred by. Perhaps it was the Academy’s response to certain allegations over the last few years. ‘Pile the awards on EEAAO, and we’ll get away with it this year.’
The Banshees of Inisherin has been cheated of awards that, had the film been released in a different year, would’ve been rightfully its own. Whether comedy is your bag, drama, heritage films, war, tragedy, McDonagh’s masterpiece has something for you. Unless you’re a member of a voting body.
‘The Banshees of Inisherin’ is available to stream on Disney+ and HBO Max, and still in a small number of theatres
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