The Banshees of Inisherin Review: The Most Miserable, Proud and Stubborn One (Venice 79)
Cast: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan
Director: Martin McDonagh
Filmyhype.com Ratings: 4/5 (four stars) [yasr_overall_rating size=”large”]
The Banshees of Inisherin is the new film by Martin McDonagh, known to the general public for being behind the camera for films of the likes of 7 Psychopaths and Three Posters in Ebbing, Missouri. In addition to directing, the author also took care of the screenplay. The film premiered at the 79th edition of the Venice International Film Festival, where it took part in the official competition. The film was born from an Irish, British and US co-production; also in this aspect of its realization, McDonagh had a central role. The rights for the Italian distribution have been acquired by Searchlight Pictures, which has indicated February 3, 2023, as the release date in cinemas.
In our review of The Banshees of Inisherin, in competition at Venice 79, we will understand how much McDonagh’s new film fits into the same groove despite a different approach. Consistent with an author’s poetics that continues to explore the miseries of the human being with an almost anthropological approach. All without ever giving up an ironic and sarcastic detachment, which takes note of our ugliness in a mocking way. Mocking like a movie that makes you grin through gritted teeth, while he’s writing a manifesto on ignorance.
The Banshees of Inisherin Review: The Story
In 1923 during the Irish Civil War, people on Insher Island lead their lives as if nothing was happening. Too far away to participate in the conflict and yet too close to ignore it, they spend peaceful and some boring days, precisely because nothing interesting happens. Blessed in this sweet monotony Pádraic Súilleabháin, at 2 o’clock like every day, goes to his best friend Colm’s house and then goes to the pub for a few pints. Arriving in front of the door the cold welcome of his friend amazes him, Colm is at home sitting on a rocking chair smoking and staring at the wall. Despite the knocks on the door, the man remains ignored and this unusual attitude insinuates doubts throughout the village.
The island is small and rumors go around that no one can help but think that there has been a fight between the two. Shortly after Pàdraic meets him at the pub and apologizes for an insult or a few words too many that he could have said while drunk and that he does not remember now, but that is not the problem either. Colm has decided that his friend doesn’t like him anymore because he’s boring. Unable to accept this madness Padraic tries to get to the bottom of the matter and the now former friend gives him a warning: every time he speaks to him, he will cut off a finger until there are only his palms left.
Away from everything and everyone. This is how you live in Inisherin. Enclosed in a bubble, within a community that seems frozen in time and space. On the mainland a war rages of which only distant echoes arrive, while on the island it lives between boredom and small jealousies. One day Padraic sees all his certainties collapse when his longtime friend Colm decides not to hang out with him anymore. Suddenly the usual chats, the usual beer in the pub and the usual routine become an old memory. An unexpected event that man is unable to accept, starting a long-distance war destined to evoke the real one on the mainland.
The Parallelism that McDonagh recalls several times in a film that seems almost like a sociological experiment. How could a quiet community surrounded by unspoiled nature be able to harm itself? Does the human being know how to live with his fellow men without seeking conflict? The answer comes little by little, in a film that never has the impetuousness of Three Posters in Ebbing, Missouri, which seems almost written in pencil, but still manages to conquer with patience and intelligence.
The Banshees of Inisherin Review and Analysis
The one narrated by Martin McDonagh in The Banshees of Inisherin is a story that draws inspiration from the literary and theatrical production of the twentieth century. It is certainly no coincidence that the story is set in twentieth-century Ireland, the homeland of authors of the caliber of James Joyce and Samuel Beckett the director recovers the idea of using an absurd story to expose the disturbances that characterize the interiority of modern man. Behind what appears to be a banal quarrel, lies the malaise of the protagonists and in particular Colm. To motivate his absurd way of acting is the need to find meaning in his existence. A side result of his actions, however, is the irremediable loss of peace for Padraic, who until then had lived peacefully, without giving any thought to the great existential questions.
McDonagh also recovers some aspects of style from the aforementioned writers. The Banshees of Inisherin is a film full of spirit and characterized by its brilliant dialogues, which transform human tragedy into an irresistible comedy. The absurdity of the situation is exposed along with the grotesque nature of the characters; despite the drama of the events, it is impossible not to laugh at their irrationality. Likewise, the bewilderment in which the characters are left by the paradoxical succession of events is incredibly hilarious. Surrounding the main story is The Island Of Inisherin, with its nature and its inhabitants. Photography that tends towards cold tones makes the atoll splendid, but it also makes it appear icy; thanks to this approach, nature assumes the role of an indifferent witness, eternally present and completely disinterested in the affairs of men. These are not limited only to the quarrel between Padraic and Colm: thanks to the excellent writing of the secondary characters, we come into contact with other sufferings and other doubts, destined in this case to remain in the background but no less profound or significant.
Finally, the history of Ireland frames the story. While the tragedy of the protagonists takes place on the rock, a civil war is being fought on the mainland. Cannon fire and rifle shots echo in the distance, reminding those who live in Inisherin that they are on the edge of the world, in a place that is only touched by great events. It is a safe and timeless place, but also boring. The peace that reigns on its shores is similar to its beauty: it does not derive from serenity but rather from stillness. Those who realize this are shocked and, they work to make sure that something changes. The struggle of these individuals, even before with themselves, is precise with the nature that surrounds them and which tends to always remain the same. In such a duel, the only possible victory seems to escape.
Watching The Banshees of Inisherin is like leafing through an old twentieth century novel. Of those to be enjoyed by the sea on an autumn afternoon. We are halfway between Kafka, Svevo and Pirandello because nothing is missing from that bitter literature: the figure of the inept (in this Colin Farrell is almost masterful), the merciless portrait of human nature and above all a passion for the absurd. Because the pretext that moves the story of The Banshees of Inisherin seems almost nonsense. A whim destined to unleash a domino effect that has nothing rational about it.
But if we recall great novels, it is above all thanks to the shrewd writing of the usual McDonagh, full of sharp dialogue and brilliant lines with an almost musical rhythm. A score that changes tone over time, because the film starts on the wings of comedy and then slowly descends into drama. The Banshees of Inisherin change as the wind changes: little by little but in an inexorable way. A gradual evolution, wonderfully managed by a skilful script in wrapping the viewer in a father-son relationship (surrogate) full of unspoken and impregnated with resentment. An arm wrestling between unfortunates in which McDonagh finds a close-knit couple of In Bruges, and Colin Farrell and Brendan Gleeson are perfect in dueling with glances and denied beers.
The Banshees of Inisherin Review: The Last Words
Colin Farrell and Brendan Gleeson were once again exceptional in portraying two polar opposite characters yet once so close to each other. The greatest applause, however, goes to Barry Keoghan who once again demonstrates his versatility by managing to easily go from being the Joker in The Batman to the not so typical village idiot. After years hidden in the drawer, Martin McDonagh has finally shown the world the project “not good enough” which instead turns out to be one of the most interesting films of the entire festival. Sweet, subtle and of an inexplicable power, The Banshees of Inisherin is an unexpected film after that other masterpiece that is Tre Manifesti and even if we don’t know it, we couldn’t ask for anything better.
