A Review of 50 Dead Men Walking
Canadian films rarely get long runs in the cinemas across this country because they don’t have the draw of big names to keep them in the theatres longer than a week.
That isn’t the only reason, but it can be one major contributing factor. Yet we still don’t seem to hit the mark with many great Canadian films. The ongoing debate amongst me and my filmographic friends is that this is down to marketing and the budgets that acquisition and distribution firms allocate (or don’t) to promoting Canadian films. I think this is a key contributor to a film’s success.
Why?
Because it is the buzz that is the real draw and if you can’t create buzz no one will even think about spending the time or money to go and see a film – Canadian or otherwise - even if it is the best film ever made. With so many American films to compete with, the draw is the important selling feature for the general public as to what film to choose to spend time and money seeing. Big budgets are not the main determinant in guaranteeing the financial success of a film. The Blair Witch Project proved that in droves as it was the film’s controversy and genius marketing that got the filmgoers to flock to see it, not the big budget, excellent cinematography, storyline, acting or special effects!
I just hope this won’t be the case with 50 Dead Men Walking - a very noteworthy and successfully executed Canadian film that HAS big draw names … Ben Kingsley for one. There is also a distinguished supporting cast including the international talents of Kevin Zegers (Transamerica), Natalie Press (My Summer of Love), Rose McGowan (Grindhouse: Death Proof) as well as Irish actors Michael McElhatton (Spin the Bottle), Tom Collins (Closing the Ring), Nick Dunning (My Boy Jack) and Anthony Brophy (The Tudors). Jim Sturgess (21) plays the lead role of “Marty”, and is an up-and-comer on a lot of people’s radar and talked about as “one of the new faces to watch.” After seeing his performance in 50 Dead Men Walking, I can see why, as he is absolutely brilliant and totally believable in this role.
Produced by HandMade, Future Films and Canada’s Brightlight Pictures with backing from Northern Ireland Screen and Telefilm Canada, the film was chosen to screen at the prestigious Toronto Film Festival in 2008, with great buzz, and received its UK and Irish premiere at the recent Jameson Belfast Film Festival.
But even the screenwriter/director, Canadian Kari Skogland (The Stone Angel) admits having a big name was essential to getting the film made in the first place: “He (Ben Kingsley) was one of the first actors who came on board. He read the role and again was very responsive. … For him to come on board it really meant we were able to commit to it and have the financiers come on board.”
Lots of films have been made about the Irish conflict. Canadians can’t really understand the deeper psychological effects of living amidst such a vicious, subversive conflict as the Irish have endured. The closest we even came to experiencing their terror was with the brief FLQ conflict in Quebec in the 1970s. I am drawn to these movies and their stories due to my own ingrained Celtic heritage and identity, and some notables include Bloody Sunday, The Informant, The Crying Game, Some Mother’s Son, and last but not least, In the Name of the Father. Each film visually portray a singular story within the context of what began as a religious conflict turned into a self-perpetuating war of terrible violence that has since morphed into sophisticated terrorism and a pervasive, abject disregard for human life. Politically speaking, the ‘resistance fighters’ and ‘liberators’ need to snap out of their myopia in the humble opinion of this writer and say “Enough.”
50 Dead Men Walking begins by revealing 22 year old, cocky, Marty McGartland, as an ignorant, immature pacifist - uninvolved and with equal contempt for either ‘side’ at the height of the Irish conflict in the 1980s. For me, as a writer, it’s the words (dialogue) that move the story forward and resonate for me the most, and trust me there are some great lines in this flick – and one of the best used to passive aggressively bring Marty into the spy game fold is “You aren’t a man until you have a cause.” Kudos to Kari Skogland for writing such a terrifically expressive screenplay!
Story-wise, with the base lure of personal financial benefit, Marty becomes an infiltrator for the British Intelligence on the premise that his ‘work’ will save lives - the meaning of the movie’s title. As time goes on, he moves from his self-indulgent want of money and a car, to commit for bigger reasons to his undercover role. Ultimately he pledges his loyalty and officially joins the IRA to move deeper into the information highway, which also parallels his move up within the organization in increasingly heinous ‘responsibility’. Of course, one can only play both sides of such a dangerous coin for so long before it drops and one must choose either heads or tails, or die.
Marty’s British contact, albeit with an all too often used Irish code name of “Fergus”, displaying the Brit’s ignorant attitudes towards the Irish, is brilliantly portrayed with depth, mastery of nuance, and convincing resonance by Sir Ben Kingsley. “Marty” is adeptly played with a believable progression of character by Jim Sturgess, and his girlfriend/wife is stereotypically (written not acted) but effectively portrayed by Natalie Press. Unfortunately, the female roles were trite and disappointing, and their place in the film only to peripherally move the story forward with a bit of eye candy. But then, what is the inclusion of a character in any story if not to accomplish that end? Yet, I would have hoped that Ms. Skogland could have flushed out more depth and purpose to the female roles in affecting Marty’s choices, than just secondary characters that become his obligations. Of course there is also a high level female IRA operative love interest played by Rose McGowan, who looks like a 1980’s version of Gilda (black leather and all) with long flowing auburn hair and a sexual appetite to match Mata Hari’s all used, of course, to seal her place and influence in an all male run IRA. Ironically, and far too conspicuously, she is even likened in the film to Mata Hari!
Nonetheless, even with those mild shortcomings, Ms. Skogland was very successful in bringing to life on the screen some phenomenal acting performances from her cast leads and supporting actors, which serve to effectively portray the narrative of Marty’s progression from an uninvolved self-concerned youth, to a committed selfless man, with interest, innovation and intrigue.
I also found it curious that the flick, based on the book by Martin McGartland and Nicholas Davies, has a proviso at the end of the film that states that the movie was made without the participation of the writers. I would surmise this is because to this day, Martin is still on the run from the IRA for choosing to be an infiltrator in the first place. Personally, if I were promoting the film, it would be THAT on which I would focus to create buzz and gain notoriety towards financial success which is, after all, also part and parcel of successful filmmaking. It is an industry after all.
In short, the unfaltering action of this story is ferociously delivered with visual acuity, the story told in an interesting, incremental reveal with some interesting twists, the (male) characters were compelling on all fronts, the cinematography flawless and unfailingly visually stimulating, with the editing cohesive and inventive. Overall, it’s a most excellent film that any film lover will definitely enjoy and remember long after leaving the cinema.
If you haven’t seen this flick, the bottom line it is a must see. It’s not a masterpiece, but it is a damned fine piece of Canadian cinematic storytelling, and well worth the view and expense, most especially on the big screen and even more importantly, in Canadian theatres.
50 Dead Men Walking opened in select theatres across Canada on Saturday, August 1st.
Lynn Willis
RAINDANCE CANADA
July 29, 2009
