Coming off like a fatalistic fairytale, Martin McDonagh’s fourth feature film, The Banshees of Inisherin (2022), has been deemed a pitch black tragicomedy, whereas his other films (In Bruges, Seven Psychopaths, and Three Billboards Outside Ebbing, Missouri) would more simply be described as dark comedies, or dramedies.
Subtly drawing symbolic ties to the Irish Civil War of 1922-23 (it is set in 1923), as well as the long lasting strife known as The Troubles (which took place between the 1960s to 90s), this divide is shown by way of muses Pádraic (Colin Farrell) and Colm (Brendan Gleeson). Best of friends on a small Irish island known as Inisherin (a beautifully bleak fictional location), we never truly see their glory days, for right from the beginning, the latter has made it wholly clear that their friendship is done.
Wanting a clean break, this is something poor Pádraic can’t wrap his mind around (first thinking it was simply an April Fools’ Day prank). Seeing himself as a ‘nice’ guy, the pair have spent nearly every day with each other for as long as anyone can remember. . . but it seems like Colm has had enough of his dullness, which has led to this Irish standoff.
Like a depressed puppy dog, or perhaps more aptly, donkey (as Pádraic loves his pet donkey with all his heart), he continues to sheepishly approach Colm, attempting to figure out what he has done wrong and how he might be able to win him over again. Instead of having some positive effect, Colm decrees that if Pádraic ever speaks to him again, he will cut off one of his fingers. . . a startling threat, as the man is a fiddler, who, with his newfound time after the break-up, is looking to compose music that will last long after his death.
Littered with an array of memorable villagers (a staple of any Irish feature), Pádraic spends most of his time with the sister he lives with, Siobhán (Kerry Condon) – an intelligent woman and avid reader depressed by the island’s prospects, and dim-witted (though perhaps not as much as we might originally think) Dominic (Barry Keoghan) – an absolute scene stealer. There is also Dominic’s violent policeman father, Garda Peadar (Gary Lydon), who treats both his son and Pádraic rather poorly. Perhaps most intriguing is the wizened crone, Mrs. McCormick (Sheila Flitton), the most Banshee-like of all the villagers. Often seen near death and danger wearing black (and carrying a scythe-like hook), she is like the town’s menacing oracle, gleefully foretelling of impending doom to its superstitious villagers. . . who mostly try to dodge her. Everyone else you’ll meet, from the store keeper, Mrs. O’Riordan (Bríd Ní Neachtain) – whose real job might just be that of the island gossip, to the one and only bartender, Jonjo Devine (Pat Shortt), is utterly memorable.
Though this might be considered McDonagh’s least accessible film – more dour and severe in tone than his previous efforts (which is saying something), it is no less impressive. With the same wit, irony, and cleverness the playwright has always written with, Banshees truly needs multiple watches, for there are seemingly throwaway lines, the most obvious being an early sarcastic jab from Siobhán to Pádraic before the whole hullabaloo begins, “Maybe he just don’t like you no more”, that are cleverly placed to foreshadow future events (hence, the fatalistic fairytale idea referenced in the opening paragraph). And this sharp dialogue is beautifully brought to life by the cast. Farrell once again shows he is a superb actor, while it once again highlights that it is about time for Gleeson to win an Oscar (2014’s Calvary, written and directed by McDonagh’s brother, John Michael, is just one prime example). . . the pair building off of their chemistry together starting many years earlier in the movie In Bruges. It is wonderful seeing Condon getting some much needed praise (I stumbled upon her all the way back in 2005 when she starred as Octavia in HBO’s Rome, and she has done stellar work in roles big and small both before and since). And again, it is worth noting that Keoghan nearly steals every scene opposite the likes of the above mentioned stars, his shy simplicity fused with lonely desperation emanating through the screen and right to our hearts. It also doesn’t hurt that all of this is backed by the stunning if austere Irish island landscape. Lastly, listen for the moving score by Carter Burwell, a folkloric instrumental lullaby that is both beautiful and melancholic.
Nominated for nine Academy Awards this 2023, The Banshees of Inisherin might just snag one of the above mentioned actors a coveted statuette, while there is no denying that McDonagh has been arguably the best writer of movies since his first film. . . and don’t forget about the music. A contemplative piece of inevitability, this picture is sure to have you pondering its many layers. So, make sure to put your finger on this fiery piece of cinema, it’s nothing to thumb your nose at.