In a recent interview, Martin McDonagh jokingly shed light on his self-proclaimed laziness as the reason for the five-year gaps between each of his screenplays. McDonagh is a man who clearly cherishes his time behind a laptop, typewriter, or with pen in hand. His career’s one of the last bastions of quality over quantity, as has always been evident with the astounding caliber of his films, as infrequent as they may be.
The film industry is as fast-paced and cut-throat as they come, that there is often a real, tangible fear among filmmakers that relevancy is paramount to success. The rule of averages — churn out as many movies as humanly possible, and the chances are one will become a hit. McDonagh has been afforded no such luxury, though that’s rather out of personal choice than out of industry standards. The In Bruges director is a man of sturdy integrity, only directing his own carefully written scripts. An element of a control freak, perhaps, or simply down to the fact of being dedicated to his craft; after all, would an artist ask another to paint his painting for him?
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The obligatory five years since his last on-screen outing (Three Billboards Outside Ebbing Missouri), fans of his movies had been eagerly awaiting an announcement on The Seven Psychopaths creator’s latest project, so when the news came that he was not only making a film, but that the celebrated duo of Brendan Gleeson and Colin Farrell was set to return to our screens, it was warmly welcomed. The Banshees of Inisherin received a 13-minute standing ovation at Cannes last month, one of the longest at the film festival. Let’s see why.
Colin Farrell and Brendan Gleeson Fight in Inisherin
Searchlight Pictures
The Banshees of Inisherin is set against the backdrop of the Irish civil war on the fictional island of Inisherin. The film is possibly McDonagh’s most ambitious and outlandish to date, which is quite the statement considering the eccentricity of his previous works. It tells the story of two friends, Padraic (Farrell) and Colm (Gleeson), and Colm’s sudden pronouncement that he no longer wants to be friends with Padraic. While the reason for his estrangement remains initially unclear, Padraic’s frustrations with his former best pal lead to Colm’s admissions that his ex-best friend is “the dullest man on the island,” and that he no longer wants to listen to him blather on about “what he found in his donkey’s shite."
Colm is a deeply contemplative man in the midst of an existential crisis, seeking to add a sense of purpose and meaning to his life before it’s too late. There is this persistent air of burning regret, a desire to take back time that he has lost to the pub and his old roustabout, Padraic. As tensions rise, and Padraic’s tenacious approach to rekindling their friendship intensifies, Colm turns to increasingly drastic measures to stave off such advances, with self-mutilation a constant threat.
McDonagh’s Ardor for Scriptwriting
As anyone who is even the mildest of McDonagh admirers can attest to, it’s the director’s scripts that have made his career in both theater and film such a roaring success. The Banshees of Inisherin naturally draws upon the plain-spoken literalism of its predecessors, from plays like The Pillowman to films like In Bruges. There is this propensity in film for screenwriters to have a leaning toward these overly-ambiguous, often flowery monologues, so McDonagh’s no-holes barred approach has always provided a refreshing reprieve.
It’s in this short and sharp dialogue that the film’s comedy is found. “Everyone, to a man, knows Mozart’s name,” exclaims Colm. “I don’t, so there goes that theory,” retorts Padraic. There is no beating around the bush, no putting lipstick on a pig or mincing words (ironically, these are idioms for a man who simply doesn’t use them). The writing is harsh, brutal, and coarse, yet it never loses its endearing qualities.
Thematic Profanity and the Case of a Platonic Breakup
Searchlight Pictures
The Banshees of Inisherin is a film rooted in the utterly absurd. The profanity on display on an island so famously religious is hilariously oxymoronic. The movie addresses an unconventional theme, venturing into uncharted territories surrounding the breakup and fallout of a platonic relationship. While the picture is more of an illustration of Padraic’s story, the impact of the break-up on both parties involved unravels, exposing this tender, melancholic heart.
Colm is the instigator, yet despite the ensuing turmoil deriving from his yearning for change, he still cares profoundly for his old chum, and their divorce both visibly and literally pains him. The line from convicted felon Charles Bronson, recounted by Tom Hardy, comes to mind — “Sometimes you gotta cut a little piece of yourself off— no matter how much it hurts — in order to grow; in order to move on.” The finger butchering aside, Colm recognizes he must cut off his old friend in order to grow and develop as a person, regardless of how agonizing that may be for them both.
Oscar-Worthy Acting in The Banshees of Inisherin
Colin Farrell’s performance as Padraic is extraordinary, and it is no surprise he’s an early front-runner for an Academy Award. He’s a man plagued by his own stupidity, but prides himself on “being the nicest man on Inisherin.” He is surrounded by those more intelligent than he, and while that may be his downfall, it’s also a blessing, for his lack of emotional intelligence has him adrift in unquestioning contentment, at least while there’s other people around.
Padraic doesn’t enter into the headspace of being unfulfilled like that of his sister Siobhan and Colm, who possess the mental capacity to pine for a greater, more meaningful existence. Their respective aspirations subsequently see them leave the despondent Padraic, with his permanently dejected eyebrows and solemn expression stranded on an island of loneliness, isolation, and loss.
