WATCH THE TRAILER HERE
First, the Recap:
A sundering. Detachment. Disaffiliation. What are the aspects of life that might cause us to not only be apart, albeit by choice, from those who should mean everything to our life’s journey, but then subsequently harbor what could also turn into a lifelong animosity towards them as well? It’s a hard facet of reality to embody, or at least it should be, especially when it’s family. However, what are then the elements that emerge which bring us back together, and will it engender further separation–or deeply needed healing? Turlough (Seamus O’Hara) and Lorcan (James Martin), brothers who’ve cast aside their relationship for many years, are forced to reunite due to the unforeseen passing of their beloved mother Grainne (Michelle Fairley). When their firmly tense situation suddenly escalates into something more than either of them would have anticipated, it heralds the start of a unique adventure that will alter both of them forever.
Next, my Mind:
The atmospheric splendor of the Emerald Isle’s rural countryside offers itself up as the backdrop for both dysfunction and potential reconciliation through this Oscar shortlisted 24-minute short film from writing/directing/producing duo Tom Berkeley and Ross White, along with producer Pearce Cullen, plus executive producers Kirsty Bell and Nick Sadler. Finding its footing built on grander cornerstone thematic foundations that address familial bonds, mental health awareness, and the always potent strength of forgiveness and genuine understanding in the face of unanticipated hardship, the sheer, beautifully persuasive relevance of the film’s messages are so timely and necessary in a current age where it seems like self-centeredness and lack of sincere compassion towards one another on the basic human level appears deeply elusive, even to certain extents sadly non-existent, within the world’s societal structures.
The narrative conveyed here that finds two brothers who’ve had a less than amicable relationship from a multitude of years apart having to come back together via the passing of their mother and the compelling journey of self-realization and straightforward confronting of their respective inner brokenness that is encountered, the film’s well-conceived writing and perfectly executed pacing allows us to tangibly experience the emotional dynamics which unfold between them, delivered with both stirring, emotive depth and lighthearted, eccentric wittiness that entertains and engages you on a myriad of levels. While the project is primarily centered on the more hilariously and intelligently created moments of humor, what allows the film to soar higher actually ends up being the deftly infused, unequivocally poignant instances that ultimately provides us the magnificently impactful finale we absorb, cementing the effort’s intent with such masterful delivery, undeniable believability, and irrefutably heartstring-tugging influence.
Sibling rivalry, the millstone of loss, both the desperation for and purposeful discovery of means to cope with it, the importance of things beyond ourselves when applied to interpersonal connection, learning to not take rash actions without fully thinking things through, and the release that comes from just having (mostly) respectable, meaningful FUN in tribute to a loved one, this is all explored through the exploits the characters embark on in the context of the narrative’s path, and it lends the utterly human element to it all that, in turn, manifests the ever-effective relatability factor the story thrives on. Visually, the absolutely excellent utilization of randomly sweeping shots of the Irish landscape paired with the smooth, clear, adept focus on the characters and their situation simply grabs your attention and allows the often dialogue-free imagery to speak for itself thanks to the camera embracing each little nuance in the actors’ body language and facial expressions that speak VOLUMES on their own in combination with the spoken parts.
The music score and other accompanying songs likewise enhances the ambiance and firmly reflects the film’s Irish heritage. O’Hara is a total study in deadpan and overtly impassioned comedic skill used in tandem with equally exceptional dramatic chops through his role as Turlough, a man coming home to Ireland from England after his mother’s unforeseen passing. Having his own motives in mind from the start, things are only made more awkward when reuniting with his estranged brother Lorcan, who needs more care than he wishes to admit. Even as Turlough attempts to just be done with all that he sees as needed to close up the circumstances, a new wrinkle in this plan that Lorcan throws at him leads to an awakening that is as off-the-wall as it is cathartic, with the ramifications of it a catalyst for Turlough to reconsider his objectives. It’s a balanced performance O’Hara brings to the table, endearing you to the character for his eccentricities and his practicality, while still showcasing he’s open to change, even if involuntarily at first!
Martin is such a gem here as well, as for those who aren’t familiar with him, he’s an award-winning actor who has Down’s Syndrome, and it isn’t remotely exploited or misused but rather it expressively magnifies his acting and credibility via his role as Lorcan, Turlough’s brother who also has very keen ideas on what he sees as the outcome of their reunion and the closing out of affairs due to their mother’s passing. Protective of the precious urn he holds onto or keeps watch over with such tenderness throughout their homecoming, Lorcan brings about the foil to Turlough’s plans that comes from his soul and sense of mourning, roping Turlough into the shenanigans which are filled with joviality and healing, even when not immediately evident to his often less-than-patient sibling. Even as events culminate into revelation and further questioning of his life path, Lorcan’s affable but determined nature shines forth, and Martin is just SO endearing in both comedic and dramatic ways, exuding Lorcan’s longing for better outcomes with passion and spirit.
The primary supporting roles arrive first via Paddy Jenkins as the hysterically and oh-so-unintentionally inappropriate pastor friend of the brothers, Father O’Shea, who more than makes his presence known during the times on screen the character appears, with Jenkins just milking the role with marvelously apropos, poker-faced, calmly quick-witted timing. Secondly, via voice only, is the hugely talented veteran Irish actress Michelle Fairley as the boy’s mother Grainne. So, in total, “An Irish Goodbye” immerses you in a tale of heaviness and affection, humor and heart, separation and rectification, and the immeasurable beauty of true humanity. May it be a lesson to us all about the power of mending fences and coming back to a place where we can face trial and triumph the way it should be–together.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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