Donnelly (Brendan Gleeson) bids goodbye to his dead wife at the hospital, placing a photograph of their pet rabbit to accompany her on her way. He gets on a train with a loud-mouth kid (Rúaidhrí Conroy) who unsparing in his observations and picks a fight with fellow passengers, particularly a couple (David Wilmot, Aisling O’Sullivan) who’ve just lost their baby in a cot-death: ‘Oh here come Fred and Rosemary’ with the photo of the baby that ‘looks like the gay guy from Bronski Beat’ . It turns out that the trouble-making kid has also lost his mother the previous night. He’s the one who shot her; and so brutally ‘she had no head left on her’.
Thus a carriage encased in grief and anger, differently expressed by each, but so febrile with sadness and pain anything can ignite it into violence, which it will. Three deaths that will in turn result in at least three more deaths. All this told through McDonagh’s trademark vibrantly vulgar phrasing, jokes that erupt out of darkness, sharply unsentimental point-of-view, equal parts mean and funny, and with flashes of surreal violence, the centrepiece of which here centres on a cow inflating from too much gas. ‘Oh Jesus, what a fucking day!’ is the last line in the movie. All we know and like of McDonagh is already fully realised here in this short movie, which I highly recommend.
Part of the McDonagh retrospective currently showing on MUBI
Nominated and won the Best Live Action Short Academy Award in 2006
An extraordinary, near-Shakespearian meditation on misdirected rage, guilt and grief, deeply marred by clumsy lunging into a loud theme of racism and a strong sense that the film neither knows nor especially cares about the culture it’s portraying. Frances McDormand excels as the bullish, bellicose, foul-mouthed mother, but the film suffers as it shifts its focus to Sam Rockwell’s stereotypical racist hick. The central premise is brilliant; its treatment is ultimately uneven, and although there are elements we absolutely adore, we can’t get its lurches between tones out of our heads.
Do Americans have a case against the use of foreigners in their cinema? Language is one of the glories of this film yet we find there are considerable misjudgments with language in relation to gender and race. We can’t find enough superlatives for Frances McDormand yet we question why all the other women in the film seem to look 19, even when they’re meant to be married to Woody Harrelson. The film is very conscientious about its representation of race, yet comes across as rather racist. A tonally deaf film with some great moments.
Rewarding to watch, though, and it would benefit from a second viewing.
Recorded on 18th January 2018.
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