'Belfast' Review: Kenneth Branagh Tells His Most Personal Story in His Most Poignant Film [TIFF 21]
The established filmmaker continues a rich Irish tradition of imparting a dark parable with humor and heart.
Sad to say, the last fare audiences witnessed from acclaimed actor, writer and director, Sir Kenneth Branagh was a different attempt at conveying a modern Irish-flavored fable. It was sad, because the end result was the much-panned ‘Artemis Fowl’. But that was the Disney machine, a factory that chews up talent even as prolific as Branagh and spits out cookie cutter Marvel films or in the case of ‘Fowl’, incongruous and messy children’s films. The appeal of the Disney machine is undeniable, Marvel films (including Branagh’s early contribution to the Universe in ‘Thor’); even the weaker instalments are highly entertaining, and if that’s not your particular taste, there is still Pixar or Star Wars within the mouse-eared catalog.
For now, Branagh has put that machine behind him. In ways both literal and metaphorical, he has seemingly found his way home in ‘Belfast’. The fictionalized take of a young boy, Buddy (seen through the perfect idealized childlike viewpoint of debutant Jude Hill) who, along with this family are trying to circumvent The Troubles of 1960s Ireland, is a take on Branagh’s own childhood. The premise alone makes the story something much more personal than anything Branagh has crafted in some time. Perhaps ever. That personal touch is perhaps the true strength of the film, as it could have easily fallen into drier bio-pic or documentary style story. The subject matter as well, could have been solely presented as the somber and deadly civil conflict that it was, but that personal touch made Belfast a touching look through a young boy’s eyes at a world that is not bereft of hope or love, but one that constantly teaches us dark lessons. Finding the joy in darkness (or visa versa) may be a stereotypically Irish quality, but it certainly rings true here.
Part of the personal journey in which audiences take part, mirrors the city of Belfast in a lot of ways. His family, lead by his headstrong ‘Ma’ (Caitriona Balfe) tries to hold on to what they have in a community that is sadly tearing itself a part. It’s no real help that his ‘Pa’ (Jamie Dornan) often has to go abroad to look for work. Pa only comes home long enough to drop some words of wisdom on his two sons, kiss his wife, talk to his parents and he’s off again. While the narrative may through the idealized view of Buddy, there is some resolute realism in the family dynamic. Yes, there is strife. Yes, there is marital struggle. Yes, there is the wrath of an Irish mother that anyone with even a drop of Irish blood will recognize as the terrifying hell fury that it is. Yet all this family drama parallels the world around them, and especially this period in Ireland. The motifs of family, community, and hate only being resolved through love is masterfully written. That is truly saying something, as Branagh is rarely recognized for his writing (which are often adaptations), and more for his directing when behind the scenes.
That’s not to say that Branagh forgot his duties as Director, at this stage in his career that would be seemingly impossible. He garnered heartfelt performances out of almost everyone in the cast. Balfe and Dornan are so charismatic that they can often, and appropriately steal the spotlight from Buddy. Though that is nearly impossible to do considering how adorable Hill can be, and how well he carries his own against some true legends of the stage and screen. Branagh creates such a warm tribute to his family, once again, audiences can’t help but feel the personal ties, and feel a part of his family. Pa is never vilified for being away, even though it causes Ma many a tearful night. He is strong and wise, and always there when it truly matters. Ma, although occasionally stubborn and overbearing (then again, for most Irish mothers, perhaps just ‘bearing’) is a loving woman to all her boys. She is a major pillar in her community, and Buddy could not want for two better role models. Hill himself must have received a masterclass in acting from all of his role models on set, including the iconic team of Ciaran Hinds and Judi Dench as ‘Pop’ and ‘Granny’. Come awards time, Hinds is a name that will be in several conversations undoubtedly, and the generational dynamic between he and Hill is an absolute joy to watch. If Hill is the lungs of the film, breathing new life into Hollywood, then Hinds is the heart. The bond between all three generations of the film is enough to make even the most cynical Irish eye tear up.
This story presents itself almost as a fable, save any anthropomorphized animals, but the other major qualities are there. In a fable, there’s often a simple conflict. Perhaps people who lived through the troubles would not categorize that time as ‘simple’ but Branagh presented it that way. You are either filled with love and acceptance, or you’re not. You’re either a good person, or you’re not. In a way, even though a major piece of Irish history is a rose-colored distortion, the lesson is not, and the argument can be made that the lesson is the more important aspect.
Belfast will also give you plenty of Oscar-worthy colloquialisms, much like a modern fable. Pop gives the trailer-worthy soundbite to his grandson that ‘If they can’t understand you, they’re not really listening’; trying to explain to Buddy that a move to England shouldn’t be all that much of a culture shock. That precept of acceptance, as mentioned, is littered throughout Buddy’s journey. Lastly, the fable archetypes continue as Branagh often shows the magic of the cinema and escapism; how old Hollywood Westerns opened his eyes to the bigger world around him, and showed him what a stunning and colorful world is out there for him to discover if he is simply brave enough. Those sequences are the more extravagant in a very straight forward directorial effort. The minimalist approach for most of the film seems to ground everything you see on screen, and yet at times, very specifically and carefully, Branagh points out exactly what he wants you to look at in vibrant technicolour. The juxtaposition of these moments showed just how deliberate Branagh was, and this was like a cleanse to the soul for those who may be a Branagh fan. In several of his previous films, the Director had completely abandoned the little voice inside, censoring him and guiding him to make, well, any artistic choice at all. Some of his recent films felt as if that little voice said ‘throw everything at the screen and see what sticks’, and the reception to those films proved almost nothing stuck. It is a delight to know that voice has taken a moment to mature and return to form.
While Branagh may only make a handful of artistic choices as director, every ounce of thoughtfulness all went into the script, and that remains enough. The film is shot in an intimate and small manner, the conflict is shrunk down, and eventually it’s all slow cooked into more delicious morsels about morality and love. To be able to give a film this much flavor is a tremendous accomplishment. In terms of production scale, this is one of Branagh’s smaller films, and with a relatively short run time as well, it shows that spectacle is not always the only way to make an impact. It would come as no surprise if this film, much like the early buzz surmises, is nominated for several Academy Awards, but the safe bet seems that Branagh will join the pantheon of Irish writers when he accepts the award for Best Original Screenplay. Even if he may not win the official statue, ‘Belfast’ is enough proof that Branagh remains a brilliant storyteller - but perhaps more so when he’s not working for Disney.