One Good Film: Banshees of Inisherin
Colin Farrell's best performance to date, plus an adorable Donkey!
Are you looking for a unique movie experience this week? I've got the answer: 'The Banshees of Inisherin '. This cinematic gem, part fable, part character study, stands out from the typical Hollywood fare with its unique voice. It made my best of the year list for 2023 and is one of the best movies in recent years. Stream it on Disney+.
The Banshees of Inisherin
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Martin McDonagh is the kind of writer/director people run hot or cold on. His breakout hit was In Burgess, and The Banshees of Inisherin reunites McDonagh with two stars from that movie, Collin Farrell and Brendan Gleason. Despite being a massive fan of its three stars, I did not love In Burgess. (Ralph Fiennes was the third star.) Burgess was unique, and I mostly enjoyed it, but the ending lost me. Banshees, which is equally distinctive, presented no such last act disappointment. It is brilliant from start to finish. It is set in the fictional Inisherin, a small island off the coast of Ireland, sometime around the 1920s. It reminded me of nothing so much as The Shire; that is the last time I remember seeing such an idyllic pastoral setting. The scenery will make you want to take your next vacation in Ireland. Cinematographer Ben Davis deserves much credit for the idyllic feel, shooting the whole thing to make it feel like watching a poem. Do not mistake this for a fantasy. The modern world has just been removed. It is something that exists over there, on the mainland. This helps it play like a fable, which in turn helps us swallow some truly spectacular contrivances. By keeping a connection to the real world, we feel the total weight of each emotional and physical action on the people involved. On Inisherin lives Pàdraic Súilleabháin (Farrell), an uncomplicated man in this uncomplicated place whose life is turned upside down when he goes to the local pub at the end of the day to meet his friend Colm Doherty (Gleeson) for a drink, and Colm doesn’t show—the break from what is years of routine puzzles Pàdraic. Puzzlement turns to bewilderment when he finally catches up with Colm, who informs Pàdric that he doesn’t want to be friends anymore. From there, the script goes in unexpected directions. Farrell has given brilliant performances before, but this is his best yet. As Pàdric, he shows bewilderment, hurt, anger, disbelief, heartbreak, resentment, bitterness, love, sadness, rage and more. This performance of a sweet, uncomplicated man met with a situation he cannot comprehend is one of the greats. Gleason is also excellent in a less complicated role but very much himself. Unlike Farrell, his performance is not a revelation. Colm is a hard man who is, by turns, bitter, resentful, cruel, friendly, joyous, and unwavering in resolution. It would have been a brilliant movie if the story only focused on the two men. McDonagh wisely chooses to expand beyond the two protagonists and do a good amount of world-building. It gives Inisherin a sense of being a whole place, not just the backdrop for the two protagonists. This choice introduces a third central character, Pàdraics sister Siobhàn (Kerry Condon). Condon is a new face to me, and her performance is so subtle that it could go unrecognized amid the fireworks around her. It was a stunning performance, certainly better than Jamie Lee Curtis's in EEAAO, who won the Best Supporting Oscar instead of her. Sibohàn is the movie’s calm centre. Condon gives Sibohàn layers of emotion and complexity and never lets the small role devolve into cliché. McDonagh’s fantastic script offered the opportunity, but look at her scenes and screen time, and you can see that a high calibre performance was essential in this role. Also included is a subplot about Dominic (Barry Keoghan), a local boy unlucky in love. Keoghan gives a beautiful performance. As with Sibohàn, an outstanding performance is essential to flushing out the potential of this role. As great as the acting is, the genius of Banshees is that, unlike so many movies, writer/director McDonagh feels no need to lead the viewer by the hand to a simple explanation or even any explanation. This becomes clear in a shocking scene that announces that wherever you thought this movie was going, it is bolder than you think. It is rare these days to encounter real suspense in a film. You might not recognize it here because we are so used to being presented with false suspense. Consider the ever-increasing number of franchises where false tension is built, with the ending never really in doubt. In a genuine sense, this blackest of comedies (or is it a heartbreaking drama?) is also a mystery and a thriller. Banshees defies easy definition. Carter Burwell's amazing soundtrack helps by not giving conventional cues and helping tie the various elements together like a bow on a beautiful gift. The score always suits and sets the mood, whether lyrical, ominous, baffling, or comic. Martin McDonagh is a unique talent. He is a gifted writer. He is less talented as a director but is solid and, most importantly, capable of executing his vision. Banshees is one of the most must-see movies I’ve seen in years. It reminded me greatly of Fargo (🦛🦛🦛🦛), another picturesque movie with perfect performances that brilliantly subverted expectations. I can think of no higher praise.