Into the West (1992)

 

Although it may be a little intense for young tykes due to its alcoholism, poverty, and prejudice themes, "Into the West" is an overall charming and appealing family film with a compelling storyline. It's plot is hugely unbelievable (two Irish lads rescue their magnificent white horse from an abusive owner and ride across Ireland evading the authorities at every turn,) but something about this story touched a warm fuzzy place in my heart.

   Gabriel Byrne plays the alcoholic father of two young boys, Ossie and Tito (Ciarán Fitzgerald and Rúaidhrí Conroy,) who live with their perpetually drunk dad in a squalid Irish tenement building. The boy's grandfather (David Kelly) is the proud owner of Tir Na Nog, a beautiful white horse. When Tito and Ossie decide to smuggle Tir Na Nog into the apartment (not an easy feat considering the tiny size of the place is barely livable for a family of three,) the police confiscate the horse and give him to a shady and rich hobbyist.

   The duo track down the horse-owner and steal back the steed, riding him across the hills and fields of Ireland and getting into all sorts of trouble along the way. Meanwhile, their father John gets back in touch with his gypsy heritage and reconnects with Kathleen (Ellen Barkin,) an old friend in an attempt to track his sons.

   John is a interestingly compelling and three-dimensional character- sometimes volatile, sometimes violent, he loves his sons but constantly manages to disappoint them. He pressures the illiterate oldest (Tito) to learn to read because as it so happens, he cannot. Tito does not appreciate the fact that his father is trying to do what is best for him, and he and his brother believe John does not love them. Gabriel Byrne plays John as occasionally heroic, sometimes pathetic, but never as a blunt, angry stereotype.

  There are fantasy elements considering the almost supernatural majesty of the horse, but they never take over the human element of the story, which is closer to British Social Realism than director Mike Newell's later J.K. Rowling adaptation "Harry Potter and the Goblet of Fire." While "Goblet of Fire" is my favorite Harry Potter adaptation, "Into the West" is a little more low-key, more about growing up and learning to let go that sorcery and magic.

   There are relevant social commentary (reflected by the prejudice towards the 'travelers,' the pressure of impoverished conditions, and the less-than-kosher treatment of the horse by the rich horse breeder,) and the acting is pretty strong overall, especially by Gabriel Byrne and the oldest son Rúaidhrí Conroy, although the performance by Ciarán Fitzgerald (Ossie) can be a little tiresome.

   Overall, "Into the West" is a good kid's movie with a lot of heart. Consider this a a superior alternative for teens and tweens to the the "Twilight" films and "Alvin and the Chipmunks- The Squeakquel" (God help me.) It is a rarity-  strong and underrated family film that remains interesting after you turn ten. Worth watching for kids and adults alike.
                                        Rating-
                                              8.0/10

Film Review: Jude

In her ongoing quest to expose me to the most brutally depressing movies possible, a few weeks after persuading me to watch Tyrannosaur, my daughter Sarah introduced me to Jude. This adaptation of Jude the Obscure by Thomas Hardy features memorable performances by Christopher Eccleston (before he got a Tardis*), Rachel Griffiths (Hilary and Jackie), and Kate Winslet.

Hunger (2008)

Consumed with artistic ugliness and teeth-grindingly nasty realism, Hunger is the first film by up-and-coming director Steve McQueen, not to be confused with the The Great Escape man. No. This Steve McQueen is big, black, and British, and knows more about European prisons in the 80's than any man should be comfortable knowing.

     The setting is 1981 Ireland, and the film follows Bobby Sands, a real person, we are told. Bobby is played by Michael Fassbender, who is now acclaimed for playing in McQueen's new NC-17 drama Shame. Fassbender is considered a handsome man by many, and seeing him brought to this sad physical state is disturbing, to say the least.

     The real Bobby Sands, an member of the Irish Republican Army, was arrested for keeping handguns in his home, with a history of other suspected crimes. In the movie, we are never told this. He is simply there, participating with the others in a no-wash strike, demanding better treatment. His rebellion is quickly and brutally ended when a group of guards drag him, kicking and screaming, and cut his unshaven hair and beard.

    Undeterred, Bobby begins to starve himself, but not before a serious talk with one of cinema's only cool priests, Father Dominic Moran (Liam Cunningham). What the 'ole father's saying is, basically, don't do it.

     Despite the father's strong urging not to proceed, Bobby does, and both he and his counterpart Fassbender begin rapidly losing weight (my mother says Fassbender's weight loss took "dedication," and I agree, but dedication leaning towards insanity.)

    Sound unpleasant? It is. Sand's story is linked with the stories of prisoners Davey Gillen and Gerry Campbell (Brian Milligan and Liam McMahon) and prison guard Raymond Lohan (Stuart Graham) who might feel guilt about the whole situation. Or he might not. Hard to tell, since the film has minimal dialogue. He might just be an unhappy guy.

    At first, I found this movie to be a bit of a bore. Bread crumbs falling onto a lap? Why waste a close-up on that? (I stand by what I said then on that matter.) But, just when I thought I'd have to admit my stance to the film snobs of the world and endure their rage, it got better. It was around the time of the brutal rest home scene (which wasn't very restful) and the conversation between Bobby and Father Dominic, which goes on for seventeen minutes, according to Wikipedia, but doesn't get old.

     The realism really stands out here. The filth, the feces, the full-frontal male nudity that prudish or fearful American filmmakers try so desperately to hide. Yup, schwangs flop a-freely, but rarely in a titillating way. The acting seems similarly real, as do the little details (radio 'phones up the vagina? That's *one* way to get them to your jailed hubby.)

    I did think that Bobby's character seemed a little underdeveloped. He was passionate about his cause, and the ambiguity of that cause was thoroughly explored. But he wasn't developed enough for me to fully care about him. My favorite character was the priest who, in his one short scene,  was neither bitter, hypocritical, rapey, or pedophilic, and gave off the best impression.

     An interesting watch for people who either do or don't know a lot about English-Irish hostilities, Hunger is worth watching through the slower parts, and at 98 minutes, it's short and concise. It pulls no punches, offers no enemies (except maybe Margaret Thatcher) and gives a compelling look into an ugly part of history.

     Note - The condition of the penitentiary makes modern American prisons look like Disneyland, and makes you not only think about basic human rights, but also about foreign state institutions that leave their prisoners in similar conditions.