In the name of the father
In the Name of the Father (1993)
Director: Jim Sheridan
Cast: Daniel Day-Lewis, Pete Postlethwaite, Emma Thompson, Marie Jones, Don Baker
In matters of film I'm a bit like the never sufficiently adored Carlos Pumares: If I like a movie I'm perfectly able to see it multiple times in a relatively short period of time, while "parking lot" for months with viewing other tapes I want to face less for any reason whatsoever. It is a question of desire, as I say.
This is the case, for example, in the name of the father. Anyone who more or less is sure to have seen a couple of times, if only for how much has been delivered by TV. But that does not detract from a tape that is still highly recommended.
Think it was an eternity ago, but do not find much to go back to Northern Ireland (and hence the very England) plunged into chaos by fighting between the British and the IRA terrorists. In the'70s there was virtually the situation of open war, and to tackle the government then made a determination sadly familiar in such cases: to restrict civil liberties. The decision, far from improving things, led to one of the most shameful incidents in the recent history of the United Kingdom, where some poor wretches are accused of placing a series of powerful bombs in several pubs in Guildford (near London City ) frequented by military personnel. Condemned in advance by an alienated society and thirsty for revenge, sentenced to comply severísimas penalties, known as the Guildford Four and Maguire Seven "languishing in jail for fifteen years until at last it was proved that they had not committed any crime. One of the main accused, Gerry Conlon, wrote a book about their sad misfortune, which served as the director Jim Sheridan as the basis for a film whose enormous success of critical and box office put "fashion" on the thorny issue of Hollywood Ireland North, providing a series of films related to the subject as often happens with "biopics", often it is curious to compare fact and fiction film, mostly because both have very little to do, and often distorts everything you do failure to provide "consistency argument" to the script.
In this case, for example, "Leiv motive that justifies the movie (the relationship between father and son during his imprisonment) never existed: following the rigid rules then, the defendants in the case Guildford is I tried separately and convicted after they were dispersed throughout the Great Britain, as we do in Spain with ETA prisoners. Thus, in reality Gerry Conlon and his father, Giuseppe, never shared cell as seen in the movie, not even prison, and their relationship was practically nonexistent. Neither the character of the lawyer Gareth Peirce is entirely in line with reality, because to start did not know Giuseppe Colon, because the poor man had died when she took over the case. All this (and any other thing that I am in the dark for not lengthened in excess) did not preclude that in the name of the father was a great success and would like to almost everyone: Most of the prisoners and their families they felt like the movie a kick in the crotch with an iron boot, leaving virtually outside their suffering while Conlon stood in two protagonists, both elevated to the rank of martyrs. And having been Gerry, moreover, convicted largely on everyone else to give his bones in prison to confess their involvement in the crime, although in his defense it must be said that, to coincide with the film, such a confession occurred after being cruelly tortured by the police for days.
Leaving aside all these "sights", we must recognize that in the name of the father is a great movie. It shows where the director (and writer in this case) gets to do something credible as a priori improbable that a father and his son be allowed to share cell almost as if such a thing, over two alleged militants being tried for crimes IRA Blood. Here the actors also have their share of responsibility because they all do, frankly, although I am especially with Pete Postlethwaite, whose performance is simply to frame and to eclipse that of Daniel Day Lewis when both share the scene, despite the "chemistry" between them runs a thousand wonders. If you join a band that sound very meticulous and many small details, there is no doubt that this is one of the best bands of the'90s. Besides can not be said to have lost much less effective, in spite of some events for decades now that many governments are taking advantage of the "global war on terrorism" as an excuse to restrict freedoms and subdue any dissident thought, the substantive message of this film (the complaint about the use of fear by caste leaders as a "smokescreen" to hide and justify greater evils, to own, otherwise objectionable behavior) is in full force. In this sense, In the name of the father is a notice to mariners. Not about what happened and could happen again, if not on what is already happening.
