REVIEW: “Small Things Like These” (2024)

As someone who has spent a significant part of my life immersed in stories and the human condition, I must say that “Small Things Like These” is a film that resonates deeply. The narrative, based on real-life horrors hidden behind the veil of religious institutions, is a stark reminder of the darkness that can fester when power and silence coexist.

As a movie enthusiast, I’m thrilled to share that after my captivating Oscar-winning portrayal in “Oppenheimer”, I delve into another compelling role in “Small Things Like These”. This gripping historical drama is adapted from Claire Keegan’s critically acclaimed and award-winning novella of the same name, published in 2021. The narrative unfolds against the haunting backdrop of Ireland’s Magdalene Laundries – institutions operated by Catholic orders, with the Irish government’s tacit approval, for more than two centuries.

For those not aware, in Ireland, many women labeled as “fallen” were sent to workhouses, disguised as convents, under the pretense of penance and reformation. Without their consent, they were secluded from society, compelled to perform arduous labor, predominantly in laundries, with no remuneration. It wasn’t until 1993 when the remains of 155 women were found in unmarked graves on a Dublin convent’s grounds that these oppressive institutions received public scrutiny.

In the heart of the 1980s, Murphy portrays Bill Furlong, a dedicated family man and coal merchant who runs his own business, Furlong’s Coal & Fuel, in the Irish town of New Ross. Bill is a diligent worker, logging many hours to provide for his wife Eileen (Eileen Walsh) and their five daughters.

REVIEW: “Small Things Like These” (2024)

In this movie, Director Tim Mielants skillfully employs Frank van den Eeden’s vivid cinematography and Paki Smith’s meticulous production design to depict the authentic, well-worn life of a blue-collar character named Bill. From the cramped interior spaces of the Furlong residence to the coal-dusted work environment, significant effort is invested in creating a believable portrayal. This attention to realism is one of the film’s many strong points.

As Bill goes about his daily coal delivery routine, he regularly passes by a nearby convent on the town’s edge. On one such visit, he observes a distressed lady being pushed into the convent against her will, causing him great unease. Though the scene appears unsettling, it doesn’t seem to shock Bill entirely, suggesting that he may have had suspicions before. As days go by, it becomes clear that the townspeople are privy to the questionable activities happening at the convent. However, they choose to remain silent and keep their distance from any potential conflicts, especially when dealing with Sister Mary (played by Emily Watson), the influential head of the convent.

A significant portion of the movie revolves around Bill’s personal battle between acknowledging reality and his sense of complicity from remaining quiet. Mielant portrays this conflict in several methods, one of which is depicting Bill washing his hands. Upon returning home each night, he immediately heads to the bathroom sink, fills it with water, grabs soap and a brush, and meticulously cleans his hands of soot and dirt. However, as time passes, his cleaning becomes more forceful, symbolizing his desperate attempts to rid himself of guilt.

Bill’s emotions are intensified by his own harrowing childhood experiences, depicted in a series of skillfully executed flashbacks. In these scenes, we witness a young Bill (portrayed by Louis Kirwan), who is grappling with the unexpected demise of his mother Sarah (Agnes O’Casey). Additionally, there is the constant dread of potential repercussions should he cross the nuns, as any of his five daughters could be at risk. His wife argues against interference, not out of indifference but due to her mounting concerns.

However, kind-hearted Bill is pushed to his limit when he finds a frightened young woman (Zara Devlin) confined in the convent’s coal storage, stirring apprehension about the repercussions of his actions. Will he sacrifice his family’s stability and face the Sisters’ anger for doing what’s morally right? How will his wife react? Will the community rally behind him? Mielants doesn’t provide definitive answers, leaving us with a lasting feeling of worry about Bill’s future.

Today, there’s plenty of anti-Catholic bias evident in entertainment. However, this doesn’t exempt the Catholic Church from examination, given its complex past. Mielants crafts a film that, while critical, maintains a sharp and compassionate perspective, avoiding a biased attack. Instead, it delves into the intricate exploration of overlooking atrocities within institutional abuse, as portrayed by another exceptional performance from Cillian Murphy, potentially worthy of an Oscar.

2024-11-07 19:58

REVIEW: “Small Things Like These” (2024)

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