Film Review - Stalker

Director Mark O’Connor arrived at the Galway Film Fleadh with a bang in 2012. Armed with a manifesto and two films under his arm he wanted to shake up the Irish film industry a little bit. The two films were King of the Travellers (released in cinemas this year) and his latest film Stalker which is yet to be released. The manifesto got quite a bit of press and Stalker was second in the best Irish feature award (no shame in being second to the excellent Good Vibrations) and was widely praised at the time. So why hasn’t the film arrived on our screens? Irish films need publicity to stand a chance of being seen at the cinemas and considering the marketing budgets are miniscule surely festival goodwill is an opportunity to help with the marketing a little bit. This is an argument that will run and run about why we do not see Irish films at the cinema and it is one I am sure I will be returning to. But coming back to Stalker, what does Mark O’Connor have in store for us? Well for me Stalker is as fascinating an Irish film as I have seen in quite some time.

Stalker tells the story of Oliver (John Connors), a homeless man wandering the streets who befriends a young boy called Tommy (Barry Keoghan) who he helps fight off bullies. Tommy’s life is in a bad way with a drug addicted mother and a crazy drug dealing uncle Rudyard (Peter Coonan). Oliver vows to help Tommy but his intensity scares Tommy a little. Plot wise that is about it but this is a film less inclined towards plot and more towards tone and feeling.

In my reviews of O’Connor’s previous films Between the Canals and King of the Travellers I mentioned that his films feel a little rough around the edges. That may have sounded like a criticism and in some ways it was. But it is also a compliment in that it gives his films a particular feel and tone that not all Irish filmmakers have. In Stalker he is aided by some beautiful camera work by Eoin Macken which initially brings a touch of the fairytale to an otherwise dark film. In the final third the camera work is used in a heightened fashion which also serves the ending well. So the look of the film is excellent - what about the rest of it?

John Connors is superb as Oliver; completely convincing as someone with some serious mental health problems. He is also co-writer here and he is a real talent. He commands the screen in a very naturalistic way and it looks effortless. Barry Keoghan is also very good and is an actor to watch. The two share some scenes that are intense and emotional. Peter Coonan is his usual manic self and his character Rudyard is an odious one. But Coonan plays it a little too broad and over the top at times and I would like to have seen a little more control in the performance.

The film does have some issues. There is a scene set in a cinema that is a little unconvincing. While I liked the idea of the scene, the way it plays out doesn’t really ring true. I don’t want to give away any more details that would spoil it but it comes across as a little too on the nose in relation to the state of modern Irish filmmaking. Perhaps it is the script that is at fault here as it gives Oliver too much information to impart. It is the only time in the film that Oliver sounds like he is explicitly delivering the words and viewpoint of the writer rather than just talking. There is also a bit of a problem towards the climax when the plot and narrative take over. Stalker (and indeed O’Connor) is at its best when it is freewheeling along without any real narrative concern. The utterly strange feeling is more than enough to sustain real interest. But the film rallies to deliver a really intense and feverish climax that works very well indeed.

There is a real feeling here that with Stalker, Mark O’Connor has finally found his cinematic voice. Stalker has a more experimental feel and this benefits O’Connor hugely. This approach may well produce a masterpiece in the future. And with the wonderful John Connors writing and starring with him he may well have found his muse. I for one look forward to the next two films arriving in Galway.  

Film Review - King of the Travellers (2013)

Director Mark O’Connor bucked the economic trend in 2012 when he arrived at the Galway Film Fleadh with two films to be screened and a manifesto in his pocket. King of the Travellers and Stalker were warmly received with the latter getting most of the attention for its more experimental approach. But it is King of the Travellers that has received a cinema release first and in some ways it is easy to see why. It has more of a conventional plot although the setting itself is unusual.

King of the Travellers tells the story of a feud between the Moorehouse and Powers, two travelling families. Central to all this is John Paul Moorehouse (John Connors) who believes that the Powers family murdered his father when he was a child. His desire for revenge puts him at odds with the head of the Moorehouse clan, his uncle Francis (Michael Collins) who urges peace. There is the further complication of his love for Winnie Powers (Carla Mc Glynn) and his wild half brother Mickey the Bags (Peter Coonan) who urges him on.

O’Connor wears his influences on sleeve with pride here. There are touches of The Godfather, On the Waterfront and in one of the early scenes Gangs of New York. This can be a dangerous game as you run the risk of calling attention to more acclaimed work. But he gets away with it as he grounds it within the authenticity of the traveller experience. But his main influence is Shakespearian, with Romeo & Juliet the main reference here. The first 30 or so minutes are when the film is at its best. The opening scene in a dark room is beautifully shot. Better again is the scene that follows along a motorway. In between there is the credit sequence with astonishing black and white archive footage of travellers set to The Furey's Óró Sé do Bheatha Bhaile. This is all very good and as previously said the referencing works within the context of the setting.

But after this excellent beginning some problems emerge. The first problem is the issue of non actors in the film. In the dedication for authenticity O’Connor has filled out all the smaller roles with travellers. The problem here is that when they have extended pieces of dialogue, it is flat and unconvincing and threatens to derail the film somewhat. The other main problem is the fact that the film is constricted by its adherence to narrative convention. This essentially means the last 30 minutes become rushed and predictable as the film heads in the obvious direction. What saves the film coming apart is the conviction of the main actors in their parts. Coonan, Collins and Mc Glynn all do very well in their roles with Coonan particularly taking the part and running with it. But it is the sheer force of nature that is John Connors which holds the film together. It is a big burden to carry a film in a first role but he succeeds admirably. I hope to see more of him in the future.

King of the Travellers is a problematic but ultimately decent film which never moves beyond its straightforward narrative. Yet there is a sense with this and Between the Canals that O’Connor is starting to find his cinematic voice. Even by the audacious title alone, Stalker should be an interesting film to see. It was heartening to see this film a couple of days after seeing Pilgrim Hill. If the ambition on show from both these directors carries through it could be an interesting next few years for Irish film.

The Irish Film Interview: Mark O'Connor

Director Mark O’Connor first came to prominence with Between the Canals in 2011, a raw and low budget crime drama set in Dublin’s less salubrious streets. It was a promising beginning for a new filmmaker and this year he premiered not one but two films at the Galway Film Fleadh, Stalker and King of the Travellers. This is in almost unheard of territory as funding for films in Ireland continues to decrease. But it was not for this fact that his name came up in the newspapers at the Fleadh. He also unveiled his Manifesto for Irish film where he talked about Ireland’s new wave of films. There has been a positive and negative reaction to the Manifesto, which was also published in Film Ireland magazine. I thought it would of interest to hear from O’Connor to hear his thoughts on Ireland’s film output in the past, present and future. This interview was conducted by email as Mark O’Connor is currently in Peru writing.

How would you describe the current state of the Irish film industry?

There´s a revolution taking place in Irish film right now.

Tell me in a bit more detail about the idea behind the manifesto for Irish film that you have written? Do you see it as something resembling the Dogme 95 movement in Denmark or as something to start a discussion on Irish film as a whole?

It wasn´t meant to resemble Dogme 95 or to be just a declaration. It was written for the industry with the hope of bringing recognition to the new wave. I would hope this helps in terms of more quality films being made, higher audiences figures for Irish films and more support at distribution stage for Irish films.  There´s a lot of different things in there including a call to arms but it´s really just my opinion which some people will disagree with. It is good to hear negative and positive reactions to it but it´s also frustrating when it gets misunderstood. People have picked me up wrong on a few points. One thing I want to make clear which I didn´t in the Manifesto because I only had three days to write it was that I don´t believe the director needs to also be the writer. I believe the director; if he is an artist of integrity will reinterpret it into their own vision. This means understanding the characters and story as much as the writer. If I was an actor why would I ask a director advice about my character if he hasn´t been to those same places the writer has been to. Instead I would ask the writer.

In some ways I think the idea of the manifesto leads into what I think is the most important question facing the Irish film industry at the moment: Why do you think there is so little enthusiasm for Irish film at the Irish box office?

Irish films are being passed up at the cinemas for Hollywood infant formula because the multiplexes don´t want to take a risk with a small Irish film which has no marketing campaign behind it. You eat what is on your plate and we´re consistently being fed MacDonald´s film and music. This needs to be tackled and the manifesto is partly written for this reason. We also have a problem of Irish audiences not being interested in seeing a new Irish film because there´s a certain stigma that they are not worth taking a trip to the cinema for. This is where the new wave is going to change everything. The industry is now producing quality films which in my opinion are better or at the same level of quality as anywhere else in the world.

If a magic wand were to be waved, making you in charge of funding for Irish Film – how would you exercise that power?

      I don´t think I´d be the man for that job. I think the Irish Film Board is doing a great job at the moment by nurturing a whole wave of up and coming talent. I think the correct thing to do is to support this talent and help it grow and then watch it flourish.  

How did you rate The Guard and what did you think it did right in terms of being successful at the Irish box office?

      To be honest it wasn´t my cup of tea but again that´s just my opinion. It appealed to a wide audience so it has to be applauded for that. I think they found a formula that worked. It had the right elements to attract a wide mainstream audience and it had Brendan Gleeson in the lead role. This happens every couple of years in Ireland. Intermission is another good example. Perriers Bounty is an example of what happens after when you try and replicate the formula.

You have just had two films premier at the Galway Film Fleadh this year. Do you think they will secure theatrical release?

      Who´s to know? Between the Canals sold out its first two weeks in the cinema but still hasn´t been released on DVD three years later. The industry is volatile and distribution companies are less willing to put their neck out. I think King of the Travellers will as it has a wide appeal but as for its unwanted cousin ´Stalker´….I think Stalker will go through the grinder, hopefully making an impact at festivals but come out the other side as a film that people talk about. It´ll be a hard cinema sell because of its content but hopefully it will spread through word of mouth. Self distribution is probably on the cards there but as it says in the Manifesto ´The tools are finally in our hands´. Also they´re making a computer game based on the film so that may help.  

            Film-wise, what are you currently working on at the moment?

I´ve twelve projects in development. The problem is getting finance.

Have you an interest in working abroad or is there enough to keep you here in Ireland?

Well I´m currently in Peru writing! However Ireland is my home. I want to make Irish films which appeal to an International audience. There are so many great Irish stories yet to be told so why would I want to work anywhere else. I love Ireland.

What recent Irish films have you seen? Are you encouraged by the standard of filmmaking here in general?

I´ve missed out on seeing a good few of the new ones. I´m looking forward to seeing My Brothers, Pilgrim Hill, Citadel, Dollhouse and What Richard Did. I´m very encouraged by the standard of film making talent. As I said there´s a whole wave of talent emerging.  

What other Irish filmmakers excite you that we may not have heard of yet?

Gerrard Barrett even though I haven´t seen his work. I met him at Galway and instantly liked him. Donal Foreman is making his feature film debut through our company Stalker films and we´re excited about that. Also through Stalker we´ll be producing ´Cardboard Gangster´ by John Connors which we are really excited about as its set in Darndale and this will be new to Irish film. These films will be part of the new wave.

Finally, what is your favourite Irish film of all time?

I have lots of favourites. In the Name of the Father, The Butcher Boy, The Wind that Shakes the Barley, The Field, Charlie Casanova, Kings, Tin Can Man, Poitin, My Left Foot, Pavee Lackeen, Song for a Raggy Boy, Angela´s Ashes…I love Irish films!!!!

My thoughts on Mark O’Connor’s Irish film Manifesto

After hearing that there was someone who had read out a manifesto stating that there was a ‘new wave’ in Irish cinema my interest was piqued. Who would have the audacity to say that the system as it stands is not the future on foot of the Box Office success of The Guard? Director Mark O’Connor (Between the Canals), fresh from having two films premiere in the Galway Film Fleadh, read this out before one of them. But how does the document stand up? Is his theory on the new wave of Irish film ahead of its time at best or premature and a little pretentious at worst?

The first thing to say is that this is a brave thing to do for a relatively unknown filmmaker. There is no real advantage in some ways to putting yourself out there like this and inviting scorn. The overall message of the manifesto, it seems, is to provoke a reaction and start a discussion as to where our National Cinema is heading. O’Connor is not without confidence (one of his new films is called Stalker: that takes nerve) and one hopes that this doesn’t backfire on him within the industry. In general terms I would not disagree with most of what he says. I think that the availability of cheaper equipment and the use of internet raised funding initiatives have fundamentally changed how films can be made. I think that if a slew of films were made this way what would happen would be relatively in keeping with what happens in other countries. There would be some really bad films (not everyone that can pick up a camera should) but there would also be some bold and challenging ones. There may even be a masterpiece or two in the next few years. I think the keys to the executive bathroom in Ireland’s filmic world have been out of bounds for too many people for too long. Other voices need to be heard if we are to have any hope of growing our cinematic output and reputation in the future.

I am on the record as being a Charlie Casanova fan but I also know I am in a minority. I think O’Connor was to some degree detrimentally divisive by stating that you either liked it (Charlie Casanova) or you didn’t recognise how good it was or indeed understood it. The film is somewhat problematic and while there is every chance its reputation may be enhanced in the next few years it is simply wrong to dismiss critics of the film as people that do not understand it or that are just too used to the Hollywood formula. Let it be called a bad film if needs be. It is every critic’s right to call a film crap if they so choose and the people that did, should be engaged in this debate as much as anyone else. If there is a new wave of Irish film there needs to be inclusivity and support to help it along. Pushing people who ‘don’t get it’ to the side will not help. I think while O’Connor talks of this as the beginning of protest film it is not necessarily to be taken literally. He could be talking about the fact that low budget filmmaking can be more daring and radical because of less financial risk. The manifesto could seem to be a call to arms in this regard.

So will there be a long lasting effect of all of this? O’Connor’s films were warmly received at Galway and there is an optimism that there are other films coming along that could do well. Silence by Pat Collins is in cinemas at the moment and doing quite well. It is a terrific film, well reviewed and seems to have found a niche audience. Citadel and Pilgrim Hill were two other films that were talked about enthusiastically at Galway with the latter singled out for praise by Donald Clarke in the Irish Times. That this film was made for next to nothing would seem to bear out O’Connor’s general point about micro budget filmmaking within the manifesto and it is a point that is worth considering.

There are some interesting films being made here, some with tiny budgets and skeleton crews. If some of these films can get distribution on a regular basis there is cause for some optimism that we can have a National Cinema that can compare to others. And if we can find an audience in the cinemas on a regular basis for films that would not need much to claw back investments it could be a successful future model for our films. But O’Connor has to be careful not to alienate people within the industry too much. There should be room at funding level for micro budget filmmaking but that does not mean that bigger budget filmmaking should be ignored. It is my opinion that the money for bigger budget filmmaking should only come when there is satisfaction that the screenplay is production ready. There have been films made for considerable amounts of money over the last few years that clearly could have benefitted with more work on the script. I will not name names but anyone with an interest in Irish film will know what films they are. I think that there is room for more eclectic and less formal filmmaking at the micro budget level where the risk of investment is less severe. An increase in the amount of low budget films produced here over the next few years would be exciting but perhaps more importantly if they could get distribution and marketing behind them, there may well be an audience for them as well.

I would like to know where people who are involved or indeed just care about our National Cinema stand on this issue. You can leave comments below on this subject and I will answer and debate each one. You can also engage in a discussion on twitter with me (@jaycoyle) if that is your preferred media. I am hoping to interview some people in the Irish film industry to get their thoughts on our cinematic future. Indeed my first interview will be published on this blog very soon. That interview is with the writer of the Irish film manifesto himself, Mark O’Connor. He had some interesting things to say about our cinematic past and future. If you are involved in the film industry in Ireland and you would like to be interviewed, please contact me here or on Twitter and I will get back to you. My aim is to have a broad selection of interviews on my site to see if there is any consensus or vision as to how we see our National Cinema’s future.