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This is a really great movie. I can't add much to what's already been said, but I want to beat the dead horse that is Aiden Gillen's accent. Given the hairstyle and goatee that he was sporting, I'm almost convinced that they shot this one lot down from wherever Game of Thrones is filmed and they pulled him out in between takes as Petyr Baelish. I'm really surprised no one pulled him aside and told him it sounds ridiculous.
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Aug 11, 2014 03:07
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Uncle Boogeyman posted:Good movie. In addition to the meanings that people have already provided, the term is often used metaphorically to refer to a trial or a crisis that must be faced, often of faith. I think the film uses it both literally to refer to the Crucifixion and in this latter metaphorical sense.
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Aug 11, 2014 04:21
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https://www.youtube.com/watch?v=j_Pb4C2_TGQ A pretty great in-depth interview about the movie with Brendan Gleeson and John Michael McDonagh.
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Aug 12, 2014 03:17
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Apparently the director said the person who killed the dog is at the bar and has a flesh colored bandage. Someone on youtube points out a scene that shows a bandage on the bartender's hand, but again this is still pretty ambiguous since I'm not sure if that scene comes after or before the barfight. I guess if it is before the barfight, then it's much more telling.
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Aug 14, 2014 05:09
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Ok, so I saw this at the cinema when it was first released but after one viewing I didn't think I was ready to give a fully formed opinion of it other than the fact that I adored it. Now that it has been released on Blu-ray and I have seen it again I'll go out on a limb and say (as hard as it can be to define the geographic origin of a film) that this is the best Irish film ever made, beating previous favourites like Intermission and The Wind That Shakes The Barley. As much as I love In Bruges this is my favourite film from either of the McDonagh brothers. I would almost say that I dont think somebody who isn't of Irish Catholic origin can fully appreciate this film. I'm probably going to ramble a bit here but I think that is a consequence of how much this film has resonated with the parts of my backround that come from Ireland, for clarification as to where I'm coming from I have been raised in England to an Irish immigrant father who was born to an unwed woman in Dublin and (as was the practice at the time) appeared at a convent in Cork a couple of days later with no paternal details on the birth certificate (my surname was one given to my father by the nuns, thats how Ireland operated) due to the almost theocracy that existed until the scandals emerged. The extend of the abuse from the priests in Ireland has emerged almost exaclty in sync with the collapse of the celtic tiger economy and these two factors combined has resulted in a sort of ego collapse for the shared Irish identity, this is what Calvary is concerned with. At crucial interludes within the film there are beautiful panning shots of the countryside, in particular (what looks like, its the right county but I dont know if theres a similar mountain, I dont think there is and it fits very well if I am correct here) of Benbulbin. Benbulbin is one of the most striking geological features of Ireland perhaps only behind Mount Errigle and the Giants Causeway, it also has particular artisct significance as it is the defining landmark of what is reffered to as Yeats' country. Now Yeats in his poetry used the beauty of the Irish countryside to evoke a sense of national pride (he was slightly involved in the early Republican movement), in the film this serves as a reminder as to what actually gave Ireland its first ever sense of national pride, with these shots the film invokes a sense of hope for what is to follow. Of course after this the film breaks down a 'good priest', it tests his faith heavily, it breaks him the the point of drunken violence and at the end he never escapes from that he simply realises the church's time is past and goes to his death. Its incredibly powerful but it never loses hope for the Irish identity. What almost struck me the most is that a lot of this are thoughts I've touched upon when having drunken conversations with some of my friends from The Republic of Ireland (these are actually also all academic sociologists and thus concerned with such notions), the film gets this and expresses it in a wonderful work of art. I could go on but I would just end excitedly rambling and repeating myself, in short this film is incredible and has a place in the cultural narrative of Ireland, perhaps more so than any film before it.
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Aug 17, 2014 08:04
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StoneOfShame posted:At crucial interludes within the film there are beautiful panning shots of the countryside, in particular (what looks like, its the right county but I dont know if theres a similar mountain, I dont think there is and it fits very well if I am correct here) of Benbulbin. It is Benbulbin alright. I loved the film, even though it is relentlessly bleak. I'm from rural Ireland originally and McDonagh does a great job of capturing different traits of it, in this case the bitterness, anger and claustrophobia of small towns. If this is going to be a trilogy then my money on Gleesons character in the next film is a publican. He's already been two of the pillars of rural Irish society, the Guard and the priest.
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Aug 17, 2014 21:36
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Mr. Flunchy posted:I did appreciate the mini shout out to In Bruges though. The idea of some kind of McDonagh-verse makes me happy. I missed this - what was it?
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Sep 6, 2014 08:41
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mr. unhsib posted:I missed this - what was it?
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Sep 6, 2014 08:54
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What a bummer
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Sep 12, 2014 05:07
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Saw this a couple of weekends ago at the AFI Silver Theater. I still can't really get it out of my head. Tremendous film; please see it if you still can. Not the happiest time at the movies, as you would expect about a film of a man being used as a biblical scapegoat for... well, pretty much everything, but it has REALLY good performances, directing, cin-tog... the whole bit. One thing in particular that sticks with me is that James does almost leave; says, "gently caress all this for a game of soldiers," packs a bag, and makes for Dublin, and after being shat on by the whole village for things not even his fault, who can blame him? But at the airport, he runs into that poor French woman who lost her husband, taking him home, who reaffirms the peace James gave her earlier in the movie, and who is given one more punch in the gut before leaving- the sight of some jerk-off airline worker draping himself over her husband's body like it's a counter-top. The look on James' face as he watches that... hurts. So he goes back, because, dammit, someone has to be there to give people what help and grace they need. And if that means dying to answer somebody else's grudge against the Church, then so be it.
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Sep 12, 2014 15:58
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I finally caught up on this, and while i'm still parsing it for the time being, I did want to point out that the bartender' hand is cut up and is covered in bandages in the final montage. So whoever mentioned that seems like they were dead on.
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Sep 21, 2014 21:52
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Megasabin posted:Apparently the director said the person who killed the dog is at the bar and has a flesh colored bandage. Someone on youtube points out a scene that shows a bandage on the bartender's hand, but again this is still pretty ambiguous since I'm not sure if that scene comes after or before the barfight. I guess if it is before the barfight, then it's much more telling. I just saw the film, and its funny if you go into Google and enter Calvary movie who it completes with killed the dog with the above explanation in the feedback part without even pressing return. I saw the bandages, but I thought it was due to the bar fight.
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Jan 12, 2015 16:35
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Really great movie. You feel his slow succumbing into the despair others have trying to drag him down to their level and losing his ability to try to be above it and address his own feelings. And that moment he turns around to face what is coming and try to give hope and save...man.
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Jan 12, 2015 20:04
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