Tell Everyone About Say Nothing

As a cinema devotee with a keen interest in historical dramas, I must say that “Say Nothing” has left me captivated and thought-provoked. Having lived through moments of political turmoil myself, I found this series to be a compelling exploration of revolution, sacrifice, and the human cost of war.

In the heart of the initial episode of “Say Nothing“, Dolours Price experiences a heated situation in West Belfast: a group of Northern Irish residents hurling Molotov cocktails at a police station. A gangly, spectacled young man orchestrates the chaos. “Wee Gerry” has progressed significantly from debate club, remarks Dolours’ sister, Marian, referring to Gerry Adams, a childhood acquaintance of the Prices who now holds significant influence in the Provisional Irish Republican Army. “Evening, child,” he greets, approaching the much shorter Dolours. “Don’t address me as child, you pompous little twerp,” she retorts swiftly. “You’re a year older than I am.” Crossing her arms, Dolours stands tall with determination, defying the towering Adams. The woman who would later lead the Provisional IRA’s first significant attack on London is barely an adult, yet she’s eager to make her mark on the world.

As a portrayal of young revolutionists, “Say Nothing” sparkles with the excitement and sentimentality of dedicating one’s life to an armed struggle. Based on New Yorker writer Patrick Radden Keefe’s nonfiction best-seller of the same name, the nine-episode FX miniseries delves into the Troubles – the strife between British rulers and freedom fighters that engulfed Northern Ireland for much of the latter half of the 20th century – through the personal journeys of four PIRA members striving for a free and unified Ireland. Lola Pettigrew (a captivating portrayal by Dolours Price) and her sister, Marian (Hazel Doupe, skillfully expressing tumultuous emotions behind a tranquil facade and large eyes), join the organization following a brutal assault by counter-protesting British loyalists during a peaceful march. Adams (Josh Finan) emerges as a strategic leader who would later play a significant and contentious role in bringing the violence to an end, while his friend Brendan Hughes, portrayed brilliantly by Anthony Boyle, leads attacks on loyalists and military personnel across West Belfast. However, the series also delves into complex issues surrounding the costs of political violence, even when it’s pursued for a righteous cause. This internal struggle between justice and accountability fuels “Say Nothing,” as it endeavors to maintain an understanding perspective on what it means to fight in a revolution, to carry its burden, and to find oneself in the line of fire.

Under the guidance of showrunner Josh Zetumer, aided by writers Joe Murtagh, Claire Baron, and Kirsten Sheridan, Say Nothing charges through scenes briskly, mirroring the fervor of youthful determination in its initial phases. The Price sisters rob a bank while donning nun’s attire, followed by laughter as they escape; Dolours navigates a gun-running operation, flirting with a border guard to circumvent security checks; Brendan Hughes dashes through a tranquil neighborhood to dodge British soldiers, the camera offering an overhead view of his daring maneuvers through narrow alleyways. The revolutionaries’ youth is always apparent amidst the action; Dolours, before planting bombs across London, spends the night watching a West End play with wide-eyed wonder, enamored by the city’s vibrant nightlife she intends to disrupt. As the Price sisters and their allies try to leave the country, an unmistakable fear that belies their youth grips their faces.

Despite the captivating start, the heights that “Say Nothing” reaches are contingent. The narrative weaves the struggles of its primary characters with the McConville family, particularly Jean McConville who was abducted by the IRA one fateful night in 1972. As the series progresses, details about her abduction emerge, but the devastating impact on her children is evident from the outset. The family is already struggling financially when the story begins, and following Jean’s disappearance, the siblings are harshly divided by the British bureaucratic system.

Say Nothing focuses more on the emotional impact of political violence rather than its structural aspects. The show simplifies a significant portion of the broader historical context, which might make viewers feel confined or claustrophobic. By not providing a comprehensive picture of how British occupation affected daily life in West Belfast, the series struggles to convey the gravity of the region’s history. However, this narrow focus is used effectively within the show. The sixth episode brilliantly portrays the Price sisters, who had detonated a car bomb in central London and were imprisoned for it. To be moved back to Northern Ireland, they initiated a hunger strike that lasted over 200 days. Say Nothing powerfully illustrates the magnitude of their struggle by meticulously depicting the sisters’ progressive deterioration during the hunger strike. The camera focuses intensely on Dolours’s anguish as she endures forced feedings, extracts her own teeth, and loses weight, narrowing the show’s perspective to the confines of her prison walls, reflecting her isolation.

In “Say Nothing,” the flow of time is key to its impactful storytelling. Maxine Peake gives a commanding performance as an older Dolours, whose interviews about the Troubles serve as a narrative framework in the initial episodes and preserve Pettigrew’s vivacity. Early on, she humorously describes her recruitment into the IRA, comparing it to being discovered by a modeling agency and sent to Milan. However, by the time of “Say Nothing,” Dolours’ past has left its indelible trace. The seasoned revolutionary amuses her biographer with her wit and grace, but a cautious reserve always lingers in her gaze.

From my perspective, experiencing “Say Nothing” offers an uncanny mirror-like reflection, as global clashes between occupiers and the oppressed, notably Israel’s prolonged conflict with Gaza, escalate, along with the approaching Trump presidency in the U.S., hinting at authoritarian rule. However, the themes portrayed in “Say Nothing” aren’t uniquely tied to current events. Issues surrounding political violence, much like those concerning truth and justice, are eternal and universal. The series respects the book’s journalistic neutrality when it comes to judging the morality of armed struggle. Could the Good Friday Agreement have been reached without the IRA’s instigated violence? Was their cause just? This TV adaptation, like its source material, encourages contemplation and empathy for those involved in such violence, never forgetting the victims who bear its scars. Yet, it’s important to note that a Hollywood-produced show may not be the ideal forum for debating these complex questions.

2024-11-14 17:55

Tell Everyone About Say Nothing

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