Review of Calvary (2014) by Callum H — 23 Dec 2014

"I think there's too much talk about sins and not enough about virtues.".

Calvary is a slow film. A film about prejudice. Understanding. The far-reaching implications of our actions. It is a harrowing story, that is undeniable. But it is also slightly underachieving. It beckons for higher meaning in its obscurity, and often veers into paths which prove uncompelling for the viewer. Nevertheless, it is a strong picture, one that is profound, beautiful and always filled with sentiment at its heart. The film centres around Brendan Gleeson's character, a priest named James, who is given a death threat in a confessional at the beginning of the running time. The man giving said threat is doing such because he says he has been abused by the church; he had been apparently raped as a boy. He is going to give Father a week to live, and take his life the Sunday after. As Father James comes out of the confessional, reeling, he has to traverse his small community for the next week and think on what to do as Sunday approaches. Meanwhile, he also has to deal with those losing faith in the church, his daughter Fiona coming over from London to spend time with him, and uncovering the truth about numerous individuals and their actions.

I had heard many great things about Calvary prior to my screening. I had heard that it was one of the year's most impressive films. That its technical achievements were palpable, whilst its story and dialogue were gorgeous and heartfelt. I feel somewhat misled. Calvary is a strong film in regards to certain technical attributes, these including cinematography, score, lighting, performances, set design and location scouting. It's a beautiful film to behold, from whichever angle one looks at it. What it lacks is a compelling plot and interesting characters; half of the time, I was checking my watch, tired of Father James just skulking around. It's not necessarily the pace I have an issue with (though the pacing is very much uneven), but more so the lack of direction the plot sports. The story scoots all over the place, James being thrown into numerous and unusual predicaments and discussions. Those around him, unfortunately, do not receive much-to-any development. Whether or not this was the intention, it feels unsatisfying to myself. By the end of the film, looking back at the numerous characters who appeared all throughout, from a sexually promiscuous woman to a South American mechanic, to a butcher, to James' own daughter; none of them really grew, apart from perhaps one to two individuals (apart from James, that is); those I can't disclose so as to not spoil the ending.

As the film chugs away, it lacks vitality or energy; I'm not one to complain about a slow pace, but Calvary lacks the zest required in story to carry the viewer through long and tedious dialogue scenes. The dialogue is strong, the atmosphere bold and large, but the characters are simply not powerful enough to keep the story interesting all throughout. I was noticeably bored throughout much of the running time. Fortunately, there are points where the pace speeds up and the picture gathers ground; whilst the build up to the climax isn't really that good, the climax itself is one that is affecting, beautiful and resounding. The resolutions for the characters that appear in this sequence are satisfying and emotionally affecting. Director and screenwriter John Michael McDonagh captures the dark atmosphere of the film in these final 15 minutes, and without reverting to melodrama, manages to conclude the story in a spectacular and heartfelt way. The first scene, involving the death threat is just as compelling and powerful, the entire scene being shot in a single take, adding to the bluntness and unfiltered blatancy of the statements being delivered to James. A monologue involving Aiden Gillen preaches of the sense of morality of the film and those within it; it is a harrowing tale he tells, and one that is particularly well delivered.

I feel as if I've been too negative for this picture, considering I actually did enjoy much of the running time. Father James was a strong, grounded character, who I actively enjoyed watching engage in conversations with other, less impressive personalities. His conflictions within himself, facing the lack of faith and the doubts of those in his community whom are not believers, is a particular strong point about his character. Brendan Gleeson's performance is by far the strongest of the picture, and he carries the film with grace, reality and heart. In his weaker moments, he shows his inner-turmoil. It is indeed a masterful display of acting prowess. Alongside him, the other performances are worthy of credit, but they are most certainly not as memorable. Kelly Reilly and Chris O'Dowd are undeniably the closest to come to reaching Gleeson's levels, with the latter giving a particularly powerful performance.

In terms of cinematography, lighting and score, Calvary is a masterpiece. The beauty of the Irish landscape is exploited to maximum effect, cinematographer Larry Smith often contrasting the intimacy of the central story, the protagonist and his plights with the vast and cold greenery and beaches of Easkey, where the film is set. The movie is hard and rugged, the wind attacking the characters, and Smith's contributions for the scope and beauty of the picture are instantaneously palpable. Patrick Cassidy's swelling and gorgeous score is somewhat predictable in its use of Irish instrumentation, but it is all the same a wonderful array of music he provides. The lavish fiddles, coupled with a wonderful assortment of choral input, as well as some reverb-influenced timpanis help to establish a size to the picture alongside the visuals, and is used in appropriate moments to jarring and powerful effect.

So yes, whilst Calvary is heavily faulted in terms of pace and character, technical prowess and a strong central protagonist/performance lead credence to my positive rating. For fans of McDonagh, this is undoubtedly a must-see, whilst those who hold a disdain for slower and more character-based affairs should beware; this is most certainly not for you. This is a beautiful film which doesn't achieve everything it intends to, but is still with its numerous positives.

"I think forgiveness has been highly underrated.".