HERSELF – Review

As we begin to pack away the holiday decorations and head back to the mall for the inevitable returns, this new release reminds us of those unfortunate families that aren’t lucky enough to tackle such minor inconveniences. In fact, the mother at the center of this story is completely left to her own devices, without a family aside from a violently abusive ex. She’s now part of the “system”, relying on the government to aide her with the housing of her two grade-school aged tots. In order to keep a roof over their heads she’s nearly drowning in “red tape” and “check-ins’ with often clueless “pencil-pushers”. But what if she somehow built that “roof” and freed her kids from moving from one temporary shelter to the next. But without professional laborers can she construct a home all by HERSELF?

The film begins on a typically hectic day for working mum Sandra (Clare Dunne) as she brings eight-year-old Emma (Ruby Rose O’Hara) and six-year-old Molly (Molly McCann) back to their modest house at the end of a school day. But surprise, daddy Gary (Ian Lloyd Anderson) has left work early. Despite the chilly outdoor temps, he insists that the girls head outside to play. Sandra tells them to go inside their tiny pink “playhouse’ and shut the door till she calls for them. Now alone with her, Gary shows Sandra a roll of cash he found hidden beneath the car seat, calling it her “escape money”. The screaming accusations quickly escalate as Gary knocks her to the ground and brutally stomps on one of her wrists. We next see Sandra being treated in a hospital. During her recovery, she’s divorced Gary and has custody of her girls (he gets weekend visitation at his parents’ home). During the legal proceedings Gary has lost his job and their house, so Sandra must rely on the city council’s housing stipend which os intended to be temporary. Unfortunately, this part of Ireland is enduring a housing shortage, so the trio must bounce from one cramped hotel room to another while Sandra holds down two jobs: a hostess/busser at a pub (with a nasty owner) and a maid/caregiver to an often irritated Dr. Brown (Harriet Walker) who’s recovering from hip surgery. One day at the latter’s home, Sandra uses her laptop to go online in search of housing. She comes across a series of videos by a promoter of building small affordable homes on vacant land. Sandra proposes getting a loan from the housing council (it would be cheaper in the long run that the hotel fees), but they turn a “deaf ear”. Then the doctor discovers Sandra’s internet search history. But instead of being angry, she proposes that Sandra build her house on her vast back garden area. And she’ll provide a loan for materials. Can Sandra really do this? And can she keep it a secret from her angry ex, who’s angling for their reconciliation?

The role of Sandra proves to be a star-making turn for the talented Dunne, who commands every scene (and she’s in nearly all of them). At the tale’s beginning, she’s a timid victim, trying to “walk on eggshells” around her unpredictable volatile spouse. But as her body slowly mends (that wrist may always require a brace and ice-water soaking) her spirit also strengthens, becoming more focused on providing and protecting her “babies”. Though free of Gary’s fists, she must still endure verbal humiliation from all sides: the bar owner, the condescending employers, even a hotel clerk that berates her for taking a shortcut through their spacious lobby. Dunne keeps her eyes lowered, but she eventually lifts her head and fires back at those who degrade her. Later we see a spark finally return to those tired eyes as she begins grasping at that hopeful lifeline of a permanent home. Dunne conveys Sandra’s blossoming inner strength and fierce determination.  Talk about a “mama bear”. As for those “cubs”, O’Hara still retains her optimistic joy, but the bright smiling McCann often dissolves into a frightened wreck, refusing to be with a very bad dad. Anderson plays him as a barely controlled ball of rage, making us wonder if that temper will lash out once more. Luckily Walker’s kindly doc is the kind of mentor/mother figure that Sandra needs in her “corner”.  The same can be said of Conleth Hill as Sandra’s teacher/patriarch who selflessly offers her a lifeline. All the supporting cast compliments the superb Dunne.

So, how talented is Ms. Dunne? Well she co-wrote this compelling screenplay with Malcolm Campbell. Very impressive. The film could’ve spun into a “woman-in-peril-fights-back” basic cable TV movie that’s become a staple on certain outlet (rhymes with “strife-time”). No, the story is tough, filled with digs at the country’s rigid family court system and support offices as they have to have every form filled correctly before even considering support, even shutting down before embracing “long goal logic”.  And kudos for resisting the “easy out” and coasting into a “hearts and hugs” final act, hinting that this is the first of many challenges for Sandra. Still, we know this screen super-heroine (sorry WW). Much credit must be given to the intimate, quiet direction of Phyllida Lloyd, best known for her big glossy studio films THE IRON LADY and MAMMA MIA!. It’s a thought-provoking character study that succeeds in tackling lots of big ideas and issues without hammering us over the head with its powerful message. If you can handle the grueling opening scenes of domestic assault you’ll be richly rewarded by the up-lifting story and exquisite performances of HERSELF.

3.5 Out of 4

HERSELF opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas beginning on Wednesday, December 30^th, 2020. HERSELF is also streaming exclusively on Amazon Prime