Calvary (2014) [Blu-ray]
Drama
Brendan Gleeson delivers "a truly sensational performance" (Total Film) in this darkly comic tale of murder and morality from acclaimed writer-director John Michael McDonagh (The Guard). Father James (Gleeson) is a good priest who feels sinister forces
closing in after being threatened by a mysterious parishioner. As he continues to comfort the troubled members of his community - including his own fragile daughter (Kelly Reilly) - Father James begins to wonder if he will have the courage to face his own
personal Calvary.
Storyline: Father James is a small-town priest in Ireland whose Sunday confessionals suddenly include a threat to kill him in a week's time as a matter of principle. Deeply troubled and conflicted about how to respond, Father
James tries to go on with his calling through that week. However, that proves impossible as he is confronted with a troubling variety of spiritual challenges from both his estranged daughter and his own parishioners. In those dispiriting struggles, Father
James' life begins to fall apart as time runs out towards a confrontation that seems to crystallize his values and what he wants his life to be. Written by Kenneth Chisholm (kchishol@rogers.com)
Reviewer's Note: Reviewed by Jeffrey Kauffman, December 9, 2014 -- The iconic 1950 noir D.O.A. (not to be confused with its lackluster 1988 remake) posited a fascinating scenario where the film's hero knows he's been
poisoned and will die soon, and so sets out to discover who his "murderer" is. The frequently grim 2014 drama Calvary posits a somewhat similar setup, though the protagonist's response to his impending demise is completely unlike the heroic efforts
shown in D.O.A. Calvary's main character is Father James (Brendan Gleeson), a parish priest who hears a shocking confession by someone traumatized over the Catholic church's sexual abuse scandals. This unseen confessor then announces he's
going to kill the Father precisely because James was never involved in the scandal, as if to inflict a greater wound of responsibility. The confessor tells Father James that he'll give the Father a week before killing him, so that Father James can make
his peace with God and get his affairs in order. That sets Calvary out on its own peculiar kind of religious quest, where James' apparent resignation to his fate doesn't hide the fact (and perhaps even increases it) that James is one tough cookie
who takes life (and/or death) as it comes at him. With such an overtly provocative opening scene, Calvary might seem to be setting up an unusual but compelling whodunit, a la D.O.A. Perhaps strangely, then, the mystery angle turns out to be
relatively unimportant to what ends up delivering the bulk of the undeniably hefty emotional import of Calvary, and that is the film's relentless pursuit of the spectrum of faith, especially as filtered through Catholicism, and with a certain
undeniable Irish spirit in at least most of the characters. A lot of industry pundits have been touting Michael Keaton's performance in Birdman as one of the few "givens" in the upcoming Oscar race, but the Best Actor category might be surprisingly
competitive based on the strength of Brendan Gleeson's towering performance in a difficult, at times incredibly quiet but intense, role.
Calvary starts with one of the most uniquely and intentionally provocative interchanges in the annals of recent film (and perhaps well beyond). Father James sits listening in the confessional when a male states calmly if with obvious bitterness, "I
first tasted semen when I was seven years old." The confessor then goes on to quickly detail years of abuse at the hands of a priest, who is evidently now dead. The confessor actually asks what difference it would make even if the priest were still alive,
after Father James suggests the victim could still make a report. The victim suggests that reporting an actual villain would do nothing, while killing a completely innocent priest (on a Sunday, no less) would make a statement. Father James seems resolute
in his response, firmly cognizant of the threat and, if not sanguine, not overly panicked, either.
James confides in at least a couple of other characters, including the Church hierarchy and a local policeman, but already Calvary is revealing its philosophical and religious bents as the film flirts with its incipient mystery angle. (There's
really not that much of a mystery in any case, at least for those well versed in identifying voices.) What's fascinating in some of these early interchanges is how writer-director John Michael McDonagh starts to peel back layers of the village, with
little character beats given to characters like police Inspector Stanton (Gary Lydon), who is caught more or less in flagrante delicto with a young (and apparently drug infused) male when Father James shows up to requisition a gun. In fact, much of
Calvary continues to play out in a series of interchanges between Father James and his rather unruly and at times savage parish.
There is a gaggle of variously flawed (and at times completely unrepentant) characters whom Father James attempts to counsel or at least cajole in what may be his final week of life. A local woman of ill repute named Veronica (Orla O'Rourke) is definitely
getting beaten (as her black eye aptly proves), but it's unclear whether the predator is her hapless butcher husband Jack (Chris O'Dowd) or her equally smarmy mechanic lover Simon (Isaach de Bankolé). A local millionaire named Michael (Dylan Moran) has
discovered that, as that old adage states quite clearly, money can't buy you happiness (let alone salvation). A young man named Milo (Killian Scott) can't quite muster up the confidence to interact with women, and so decides to channel his growing rage
into a life in the military. And Father James' own daughter (from a marriage before he joined the priesthood), Fiona (Kelly Reilly), is a badly troubled young woman who has just failed at attempting suicide. Job had nothing on Father James.
The film is relentlessly dialectical in its pursuit of various topics, with Father James toeing the accepted doctrine of the church line, albeit with a certain gruff, no nonsense, "lived it and survived to tell the tale" honesty. But McDonagh gets to
several thorny issues, including ending one's life on one's own terms and the evident rationality of atheism, in a surprisingly organic manner. The philosophical discussions erupt quite naturally out of the situations, even if Calvary tends to play
out as a succession of character vignettes.
While Calvary may be a bit slow moving for some viewers, it is suffused with such truth and rough hewn beauty that its emotional impact really can't be overstated. The film is full of absolutely pitch perfect performances, with Gleeson reaching a
new career high with this role, after what many thought would have to be his all time apex, his turn in McDonagh's previous The Guard. Matching him every step of the way is a beautifully vulnerable but stubborn Kelly Reilly as Fiona, in a
performance that should certainly be rewarded with a Best Supporting Actress Oscar nomination. McDonagh captures the arresting if rather daunting beauty of the Irish countryside, while also detailing both the humor and horror of the Irish spirit.
The film may admittedly make at least a tiny misstep in its denouement, where McDonagh goes for something approaching Grand Guignol in a climax that sees the none too surprising reveal of the confessor-killer, and Father James' final response to his
mortality. He may not say it out loud, but Father James' prayer for virtually every character in the film is an unspoken "forgive them for they know not what they do."
Gentle, scabrous, humorous, tragic—Calvary delivers the gamut of human emotions and experience in an often devastating film that is both thought provoking and incredibly moving. Brendan Gleeson is absolutely towering in this role and creates one of
the most unforgettable characters of this cinematic year. Michael Keaton had better not be dusting off his "Oscar shelf" just yet. Technical merits are first rate, and Calvary comes Highly recommended.
[CSW] -3.4- I agree with this reviewer:
This thoughtful and challenging morality play has threads of pitch-black humor and walks a fine line between playful whodunit and sobering parable. It works as a theological treatise or as a cynical critique that contemplates humanity's
struggle with truth and conscience. There is a gallery of quirky characters herein who distinctively wade into powerful social questions: death, faith, suicide, murder, regret, revenge and redemption. Brendan Gleeson plays a rueful priest who suffers for
their sins but can do little to help any of them. His stolid yet outstanding performance demands attention and keeps the film eminently watchable.
Although I might add that Calvary feels like an action film, and is every bit as compelling as an action film, even though it is not.
[V4.5-A4.5] MPEG-4 AVC - No D-Box.
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