THE JOURNEY (2016) – Review

Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.

The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.

Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.

For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.

3 Out of 5