In the Name of the Father

In the Name of the Father (1993)

Director: Jim Sheridan

Writers: Gerry Conlon (book), Terry George (screenplay), Jim Sheridan (screenplay)

Cast: Daniel Day-Lewis, Pete Postlethwaite, Emma Thompson, John Lynch, Beatie Edney, Mark Sheppard, Saffron Burrows, Jamie Harris, Britta Smith, Don Baker, Corin Redgrave, Gerard McSorely, Tom Wilkinson

Synopsis:

In 1974, young Irish slacker Gerry Conlon (Day-Lewis) was sent by his father Giuseppe (Postlethwaite) to London after running afoul of the IRA in Belfast, starting a riot. He meets his old friend from school, Paul Hill (Lynch), who invites him to stay at a hippie commune in London. During the time, the IRA had begun a bombing campaign across England, which culminated with the bombing of the Guildford Pub, resulting in the death of five people. After receiving a tip from one of the commune members, the police focus their attention on Gerry and Paul, who they believe are the perpetrators of the bombing. While in police custody, they are tortured until they confess to a crime they didn't commit and are sentenced to prison, along with Giuseppe and other members of Gerry's extended family. While incarcerated, Giuseppe dies, causing Gerry to take up the fight to prove their innocence with the help of lawyer Gareth Pierce (Thompson).

First Impressions:

I saw this one on video well after its release. I think my brother brought it home one weekend. I initially wasn't terribly enthused because it didn't involve shooting or action. However, by the end of the film, my mind was changed. This is one of the films that got me into smaller, more dramatic films, and it remains one of my all-time favorites (though I don't rewatch it that often). It's been quite a while since I last popped it in the Blu-Ray player. I'm hoping it stands up.

Story/Direction: 

"In all my god-forsaken life I have never known what it was like to want to kill somebody until now. You're a brave man, Joe. A brave man."

This film takes the viewer on a roller coaster of emotions, shifting from excitement to disgust to hope and even rage. It's a snapshot of what things were like in the U.K. during The Troubles told from a distinctly Irish point of view, specifically Gerry's point of view. Director Jim Sheridan uses the first act to build up the relationship between Gerry and his father, which is contentious, to say the least, but I'll dig deeper into that later. The second act takes us through Gerry's interrogation and trial, which is harrowing. Finally, the third act shows the audience Gerry and Giuseppe's struggles throughout incarceration and their fight to reopen the case and prove their innocence. It's a plot that doesn't have any twists or turns. There's not a ton of subtext. It's just a simple story of a man wrongfully accused, and it's effectively told. 

Obviously, one of the film's primary themes is the injustice behind the Conlons' incarceration, and Sheridan makes sure that the audience feels justifiably outraged regarding their treatment at the hands of the British government. When the film was released, The Troubles were still ongoing, so stories like this needed to get out into the world so others could understand what things were really like outside the news cycle. 

While the outrage was certainly there for me, I was more taken by the film's other primary theme: the relationship between Gerry and Giuseppe. Outside of all of the political stuff that frames the story, it really is about these two men coming to terms with their feeling for each other as a father and son. As I mentioned above, Gerry and his dad don't get on well at the film's beginning. These feelings get exacerbated when thrust together in a confined area for years. Being young and immature, Gerry acts out at the start causing Giuseppe much consternation. As the years roll on, however, and Giuseppe grows more ill, Gerry begins to understand his father more, and they both begin to accept each other. When Giuseppe finally dies, it sends Gerry into a spiral that he almost gets lost in, and it's heartbreaking to watch. That's what this film does through most of its runtime. It beats up your emotions. However, when Gareth Pierce manages to reopen the case and Gerry gets his day in court, it's one of the most uplifting cinematic moments I've ever experienced, and it still pumps me up nearly 30 years later.

Acting/Characters:

It's not a stretch to say that Daniel Day-Lewis may be the best living actor. He gives everything to his performance as Gerry. The character goes through such a good arc. he starts out as a typical selfish 20-something but tempered through his experience in prison and comes out the other side a better person despite his circumstances (or perhaps because of them). As I've already mentioned, the arc of Gerry's relationship with Giuseppe is the real selling point of this film. Day-Lewis and Postlethwaite work very well off of each other. 

Speaking of the late Mr. Postlethwaite, his performance in the film is equally as good as Day-Lewis' and both men were nominated for Academy Awards for their efforts. I've always liked Postlethwaite, and I thought he was one of the best character actors in the business during his career. He's a character that many fathers with sons can relate to. He loves Gerry dearly but is constantly frustrated by him because he knows that he could be so much more than what he is. So anyway, it's a terrific performance and rightly deserving of praise.

Finally, let's talk about Emma Thompson's turn as lawyer Gareth Pierce. While she has a more minor role than her male co-stars, it's vital. Gareth is instrumental in pushing Gerry to be better, particularly after Giuseppe's death. She has the quirkiness that Thompson injects into many of her characters, but it's covered with sincerity. It's another excellent performance, which was also nominated for an Academy Award, by the way.

Visuals:

There are no special effects in the film outside of an explosion or two and a man catching on fire. However, visually the film looks great. From war-torn Belfast to 1970s London to an old Victorian prison, it looks good, especially for what was likely a relatively low-budget film. 

Score/Music:

Trevor Jones composed the music for the film with a bit of help from U2's Bono. I'd forgotten how much I enjoyed the music for this film. The music has a distinctly Celtic feel (for obvious reasons), and it really meshes well with what's on the screen. I've been humming it absently for the past week. Top marks, definitely.

Final Verdict:

I still love this movie, and it's still one of my favorites. Fans of Day-Lewis should check it out, as should anybody who just likes good stories.