CALVARY – The Review

The cinematic treatment of the Catholic church, particularly the priesthood, has, more or less, reflected the changing attitudes of the general public along with many revelations that have dominated the news headlines in recent years. In the 1930’s and 40’s priests were a gentle, pleasant, understanding band of brothers frequently portrayed by actors like Pat O’Brien (who was quoted as saying he would take any film or TV role as a man of the cloth) and Bing Crosby (who won a Best Actor Oscar for GOING MY WAY, and then starred in its sequel THE BELLS OF ST. MARY’S). With the turbulent 60’s we were treated to films more critical of church politics like THE SHOES OF THE FISHERMAN. And in the next decade priest became heroes again in the wake of the box office smash THE EXORCIST and its many supernatural follow-ups and rip-offs. But soon movies showed us their fallibility as in THE RUNNER STUMBLES and the TV mini-series “The Thorn Birds”. The scandals of the last couple of decades have been explored with films such as PROOF. It is in this territory where we encounter the new release CALVARY. Though set on the Emerald Isle, this film addresses the barrage of accusations and lawsuits leveled at the church. But it’s also a thriller, a mystery, and, often, a gut-busting comedy. Talk about your Irish stew!

The first face we see is that of  greying, burly,bearded father James (Brendon Gleeson) as he settles in to hear confession. The angry voice on the other side of the screen relates the ugly childhood story of being sexually assaulted by a priest. James is stunned, saying that this is quite an opener. He offers help to the confessor via counseling or the legal authorities. But the angry voice wants none of that, not even revenge against his molester. The confessor will have justice against the church and its followers by murdering James. Think of the flock’s reaction to a good, innocent, decent man being slain. Before leaving the voice states that he’ll carry out his mission a week from Sunday. James is shaken and tells this to the Bishop that oversees the parish. Fearful of lawsuits, he offers no helpful suggestions. The police inspector cannot help without knowing the confessor’s identity. Who is it? Is it one of the men involved with the wild, free-spirited Veronica Brennan (Orla O’Rourke)? Perhaps it’s her dim-witted cuckholed hubby Jack (Chris O’Dowd) or her lover, the surly, dark Ivorian Simon (Isaach De Bankole’), an auto mechanic who might be getting rough with her. Is it the snarky, soused, deeply unhappy estate owner Michael Fitzgerald (Dylan Moran)? Or perhaps it’s the elderly American writer (M. Emmet Walsh) who needs something more than the chocolates and whiskey that James brings to him. The writer wants a gun to take himself out before disease ravages him. Maybe it’s the coked-up atheist emergency room doctor, Frank Harte (Aidan Gillen). Or is it the motor-mouthed, tattooed gay hustler Leo (Owen Sharpe) who thinks himself a wise-cracking character right out of a 30’s gangster flick. Maybe it’s the twitchy virgin Milo (Killian Scott), or the bitter local pub owner? Or could it possibly be the priest that shares duties at the church, the up-tight Father Leary (David Wilmot)? This little seaside village has suspects to spare.

But James tries to go about his work. He gets a visit from his daughter (yes, he was married before joining the priesthood) Fiona (Kelly Reilly) who needs to heal emotionally and physically after another failed bid at romance. James also pays a call to the prison to talk with convicted serial killer Freddie Joyce (Brendon’s real-life son Domhnall), who desires a hanging. And James comforts a French widow Teresa (Marie-Josee Croze) at the hospital, who has just lost her husband in a horrible auto accident. But as he goes about his work, the clock keeps ticking and soon that dreaded Sunday arrives.

This film rises or falls on Gleeson’s big shoulders, and the veteran actor is more than up to the task. His Father James is indeed a good priest as his stalker readily admits. He’s actually a better man than his ungrateful, surly flock deserve (to quote a recent Sci Fi hit “What a bunch of A-holes!”). They constantly mock his faith and deride the church for its wealth and secrecy, but James takes it, turning that other cheek. But we see how it wears on him and we wish him to put “the haters” in their place. Gleeson shows us a bit of the pre-priest man as he must avoid “the drink” (perhaps this is what ended his family and sent him to the cloth). We also get to see a bit of his light side as he banters with a sneaky altar boy and later converses with a teen girl he encounters strolling on his walking path. A sweet moment until the girl’s father pulls up and pushes her into the car, as if saving her from a monster. A hateful moment as all the evil done by others condemns this gentle man. We see that gentleness during the quiet scene at the hospital chapel as he comforts a new widow. But he will tolerate no nonsense either with the rich investor or a convicted killer. Some of his dark side is finally revealed as the deadline approaches and his bottled-up rage is finally released. But we’re still hoping that all will turn out right for him. It’s the role of a lifetime for Gleeson, who deserves every award and accolades that should come his way.

This is not to say that Gleeson’s the whole show, he generously shares the film with a superb supporting cast. Leading the stand-outs is Reilly as the daughter James left behind. Her sassy facade tries to hide the hurt from losing her daddy so soon after her mother’s passing. This may be the reason for her poor chose of life partners, that’s made Fiona part of the walking wounded. In the ensemble are a few great comedic actors who get a chance to venture into the dramatic arena. O’Dowd is very funny as the bewildered butcher who’s not that upset about his wandering missus. Scott’s deadpan spin on the shy fella’ who really needs a gal is hysterical and endearing. And Moran is able to generate big laughs and sympathy as the bitter, angry banker. At the opposite end of the spectrum is the tense exchange between the two Gleesons. Domhnall makes us forget his nice guy screen persona as the twisted killer who will get no pass from the good Father. It’s a crackling good sequence.

Writer/director John Michael McDonagh (THE GUARD) keeps us guessing up to the end in classic “whodunit” (maybe “who’s-gonna’-do-it” would be more appropriate) style, only losing the momentum when James takes a unusal last-minute-trip (and neglects to remind us of each passing day). At least we get to revisit the French widow. The county Siglo locations are quiet breath-taking , especially that pivotal beach. As I stated earlier, this is very dark subject matter that ventures into brutal territory that’s not for the easily offended. CALVARY is an adult exploration of the role of the church in modern life with Gleeson and his acting troupe making it one of the year’s most compelling films.

4 Out of 5

CALVARY screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas