Another minor revelation when approaching my survey of
Ealing films: they made this film about ‘the Troubles’ that included an attempt
to present both sides of the conflict, and which cast cherub-faced John Mills
as an IRA terrorist! Despite the odds (and there are several, including the
presence of my Ealing bête noire, Robert Beatty), the film is a fascinating and
enjoyable piece of thriller fiction that rarely lets its politics get in the
way of the more genre-based pleasures. Based on a play (that had previously
been produced for the BBC in 1950), the story’s stage roots are quite obvious
at points in the film: most notably in several long scenes set in an Irish
garage. Yet the film also expands out into tube station bombings, night-time
shootings, and rooftop chases that give the film a fluidity and tension beyond
what a theatrical production would (likely) have been able to convey.
The film is focused on Terry (Mills) and Matt Sullivan
(Dirk Bogarde), both members of the IRA, and both involved with the same woman,
Maureen Fagan (Elizabeth Sellars). The film opens with Matt arriving at a
republican cell in London, looking for Terry, whose behaviour has aroused
suspicion among their brethren. The London sequences are really strong, mostly
filmed on location, with the darkened wartime lighting, wet streets, and people
huddled in houses and in tube stations. Matt is tasked with placing a bomb on
Camden Town tube platform, before catching the last tube. Despite the presence
of women and children sheltering from an air raid, Matt places the bomb and is
about to get on the tube – when a group of kids notice his abandoned case is
ticking. Matt freezes, misses the train, then panics – running off the platform.
Terry, who has been watching him, throws the bomb into the tunnel, and heads
after Matt.
This tube station sequence (and the following arrests of
the Irish cell, and Matt and Terry’s rooftop confrontation where Terry confirms
he’s been working with the English, doubting his role as ‘an anarchist in the
middle of an air-raid’) is suitably tense, and strikingly shot and edited.
There are nice compositions – Matt and Terry sit in adjacent phone booths,
talking on the phone to avoid being spotted; Bogarde in the background spots
Mills, lighting up a cigarette in the extreme left of frame; the two actors on
the roof, faces obscured by hats, occasional bursts of light from below
illuminating them – and the editing, particularly in the tube sequence, builds
to the explosion through quick cuts to Bogarde’s face and the playing children.
This opening really sets the tone for the film, and I felt a tinge of disappointment
when it became clear the bulk of the film would actually be set in a garage in
Ireland rather than in this shady and dangerous wartime London.
The plot becomes a little tortuous here, as Matt reports
Terry as a traitor, we learn he is now sleeping with Terry’s old girlfriend
Maureen, meet local republicans Shinto (Beatty) and Murphy (Michael Golden), as
well as Maureen’s mother Molly (Barbara Mullen) and brother Johnny (James
Kennedy), and a plot is set in motion to recapture the men captured in the
London raid. Most of this, as I said above, takes place in the garage – with
occasional cuts to Belfast docks, where Johnny works. The night-time city
scenes are more atmospheric (the garage is largely shot during the day, or on
well-lit studio sets) and play to the film’s generic interests in the shadowy
world of crime thrillers. Johnny is shot, Matt tries to get him back over the
border, Terry returns, and the three of them are captured by Shinto. The
denouement of the film returns to similar issues from the tube station: a tense
ambush at the docks (in daytime), innocent people under threat of guns and
grenades, and Matt forced to choose his path. Although not as successful a
sequence as the opening, it is brutal in its dispatching of minor characters
and does set up a nice double-cross from Terry that ends the film.
Despite its narrative content – and even with the wartime
setting allowing some distance – the film does go to some lengths to avoid
taking sides in the Troubles (or, at least, to avoid being seen to take sides).
Despite the criminal and terrorist past of the two brothers, who in most films
would have to be caught, killed or morally rebuked, Matt and Terry wander away
at the end, with no sense of punishment, and with their fraternal bond stronger
than ever. Terry, of course, has represented a dispassionate logical view
throughout (his riposte to Shinto’s statement that a man had died for Ireland
is ‘better had he lived for it.’): the film obviously shares this sentiment, and
Matt’s realisation of this truth is likely what ensures he survives to the end.
Yet despite Terry’s centrality here, there is an issue
over the casting of John Mills. Given his other appearances for Ealing (The Big Blockade and The Black Sheep of Whitehall in wartime,
playing Captain Scott in Scott of the
Antarctic, then returning for a late Ealing appearance in Dunkirk), there is nothing that suggests
he is capable of playing an IRA traitor, even if the character is actually
helping the British at the same time. He is the cool-headed older brother and
man of action (no longer ‘a boy’), able to impart grown-up advice to his
younger brother (a strong performance from Bogarde, but in the tough rebellious
role he was already known for) and lead him away from the path of violence. Yet
Mills, although solid, rarely feels threatening: he is supposed to have been a
stalwart republican until he sees the ‘error’ of those ways, but Mills largely
ambles around the film being avuncular and chatty – we rarely see any sign of
an underlying steely resolve or determination.
At the same time, as the images through the article show,
the film’s producers and distributors seemed intent on drawing a female
audience – the appeal of Mills and Bogarde might accomplish that on its own,
but the film moves beyond the idea that violence (and this genre) as a man’s
game, by making an explicit link to the central female character, Maureen. Sellars
plays her as strong, passionate and opinionated, but that passion gets her
brother shot and her mother rejecting her: when Terry takes Matt away at the
end, it is as much away from Maureen as it is the IRA (Terry notes: ‘if Maureen
ever had a child it’d be born in uniform with a tommy gun for a rattler’).
Although there is a feminine anti-violence view through Molly, Sellars’
performance tends to dominate, and elevates Maureen within the film.
It might be obvious that although I liked much of the
film, it does struggle in the middle to balance the melodrama of the
Matt/Terry/Maureen relationship with its interest in being a tense crime
thriller. One of the most curious additions, given that generic focus, is the
bookends provided by the characters Dr. Brannigan (Joseph Tomelty) and Henry
Truethorn (Gilbert Harding), elderly gentlemen (one Irish, one English) engaged
in a seemingly interminable argument/squabble over the Irish-English
relationship. These are comic characters – the film opens with them blustering
and bickering over a chess game – but they are pulled into the action when Matt,
Terry and an injured Johnny burst in on Brannigan’s surgery (during another
round of the same argument). Even when taken prisoner and locked in a
storehouse, Brannigan and Truethorn continue their comic bickering and, at the
end, the film returns to them, still debating, still playing a game of chess.
The film has come full circle to these men, and ends with the following
salutation:
T: ‘To England, where the situation may be serious, but
is never hopeless'
B: ‘To Ireland, where the situation is always hopeless,
but never serious’
So, the film ends on an indecisive political note
(matching the balance it has tried to maintain throughout), and an uncertain
generic one, stuck between drama (serious) and comedy (never serious): as the
comic banter of Brannigan and Truethorn continues, the camera switches back to Terry
and Matt, two brothers fading away into the Irish countryside, walking away
from the garage, from the IRA, from Maureen, and (presumably) from any solid
answers to the English/Irish question.
No comments:
Post a Comment