As a student of Irish history and a big fan of the Irish, I was determined to see this movie the second it was released in London.
Don't read this post if you're intending to see it as I'm going to talk about the detail.
The Cork countryside is bleak but attractive and the camera moved slowly, long stretches of gently rolling hills passing with a few credits which I ignored. The soft Irish music in the background was perfect as the period 1920-1922 wasn't a time of loud poppy, rockey music.
The first scene was, hey ho, baddie black and tans roaring into a farmyard and lining up the boys against the wall, all very cliched.
I'm sure, I'm positive, that the black and tans pounding up the driveway were awful, scary, and disturbing. What I know from history is they were not properly commanded and there was no retribution when they were violent.
So ok, black and tans bad guys. But they were human and within the first five minutes my heart sank at the thought of such unnuanced film writing.
Here's a controversial idea! Do a movie that has a few nice black and tans, there were some, William Hill of bookmaking fame springs to mind.
But this movie is not about being controversial, or stimulating a different attitude towards Irish history. Ken Loach is 70, and stuck on his one note, there's a great quote in the Sunday Times today:
"Is there a couple - outside the ranks of the Socialist Workers Party - whose idea of the perfect Saturday night is to order in a pizza and cuddle up to the films of Ken Loach?"
The Englishman I sat beside looked at his watch a zillion times. Clearly it was not his idea of the perfect date movie.
I loved how true they were to the facts. Some instances shown were fictionalised versions of quite famous incidents. The landlord kidnapped as hostage for the guerrillas about to be executed, the ambush where the guerrillas were ordered to fall in afterwards, the way very young kids delivered important messages, the youthful, gormless faces of so many of the guerrillas and army guys. The British army interrogator who cried out "these soldiers saw their friends slaughtered on the Somme", all in the movie's favour.
I had a big problem with the love interest - Sinead. Every second word directed to her was 'Sinead', it's the same thing that happened in Titanic (Jack! Jack! Jack!) and is something you hear all the time in movies when the character needs to make noise. It doesn't make the characters very true to life, think about the last time you said your chum's name over and over - see? Doesn't ring true. It's just movie sound filler.
By the way, I loved the "real" sound, crunching of boots, whine of an old lorry motor, clomps on wooden floor boards. Lots of quiet space is like lots of white space on the printed page. It's refreshing and I love the realism that evokes.
I've taken a long time before mentioning Michael Collins, haven't I? Yes, he was there, two shots in the newsreel footage, but the single best thing about this movie was that Michael's story was the basis for Teddy's story, down to crying and begging someone he was close to to reconsider. The movie did mention that the elected Irish Parliament had confirmed the treaty so...if the characters believed in democracy they had to accept that outcome. But some didn't believe in democracy (they were socialists after all) and got on their high horse about the oath.
As Tim Pat Coogan says, the Irish Civil war was based on something as stupid as which end of the egg to top - the little end or the big end.
That's where this film fell down. The Civil war was never about partition and never about being "pure". It was fought over the Oath and as I keep reminding everyone, even Dev broke down and swore the Oath. Michael Collins made a remark, something like he'd swear an oath to a pig if it'd get the Brits out. But Michael was bright and quick-witted and had stared the British cabinet leaders in the face. He KNEW.
So when the movie veered off into anachronisms I was sad at the missed opportunity to tell the story truthfully.
The closest this movie got to the truth was - Damien is stalking off and his brother calls after him "don't go and do something stupid".
He WAS about to go do something stupid, join the irregulars, and his brother (who'd been tortured on screen, pliers ripping his fingernails off just so we could all get a good idea of just how horrible actual, painfilled torture is) was trying to get him to wise up.
Didn't happen.
I don't know if Loach meant to, but the casting of Teddy (the gorgeous Padraic Delaney) and Damien (the wet, seemingly slow-witted Cillian Murphy) was inspired. Teddy is the only character I cared about. Damien was a great example of someone who thought he was smart and wasn't. The movie was much less inspiring than I'd expected. So 'Michael Collins' by Neil Jordan is still the best movie about the subject I've seen.