November 8, 2024
FILM: SMALL THINGS LIKE THESE
DIRECTED BY: TIM MIELANTS
STARRING: CILLIAN MURPHY, EMILY WATSON, LOUIS KIRWAN
RATING: 3 out of 4 stars
By Dan Pal
When Cillian Murphy won his Oscar last year for Oppenheimer it signaled that Hollywood respected his internal, less showy work over some of the others he was nominated against. This year he gives an even more smaller sized performance as Bill Furlong, a coal worker in 1980s Ireland. It’s an effectively executed part even if the film leaves us wanting more from the story and his character’s background.
In his early scenes, Murphy is quiet and moving about Furlong’s world of routines with what looks like a lot of worry and turmoil on his mind. He is married and has four young daughters. What little time he has alone, he sits in front of a window thinking about his past. When he sees a young boy walking home alone, he stops, offers him a ride, and gives him some money. There’s nothing unusual about this encounter but it does show that Furlong is a kind and giving person.
What takes a while to be established is just what is going on in his mind. We learn, through flashbacks, that he was an only child with one major male role model in his life. The man, Ned, clearly had a positive impact on him for a very short period of time. Before Ned and for the many years since, Furlong is dominated by women. Whether it be his own mother, the nuns at the nearby convent, or his own large family, women control everything. As such, he appears almost emasculated by them. He rarely looks them in the eyes and often has his head down while conversing. All of this is well-depicted by Murphy who gives another very controlled, nuanced performance. He does let loose a bit though when digging coal which appears to be Furlong’s only real outlet for his inner anguish.
The larger concern of the story is not really addressed until almost halfway through the film. There is a young woman living in the nearby convent, run by the Magdalene Sisters, who clearly wants out. Furlong, being the giving man that he is, tries to do what he can while being surrounded by all of these powerful women. Not the least of which is Mother Mary, played by Emily Watson. It’s obvious she makes the rules. Watson, like Murphy, gives a tightly subtle performance as the head nun who knows what she wants and how she expects her surroundings to be perceived.
The quietness of the film then is effective but also leads to a certain lack of drama that might have helped the slow pace a bit. The narrative plods along with Murphy and we wait for something big to happen. This isn’t to say that a major plot swing is necessary, but without it makes for a fairly static film experience.
Going along with this is the small Irish setting that is dreary and wet. Scenes are underscored with not overly intrusive but somber music. Again, this is to be expected but the film as a whole could offer something more.
We’re definitely interested in Furlong and the connection he establishes with a couple of the younger characters and there is a slight but important arc to his character but I think many viewers might leave expecting more of a payoff. The film is based on a novel which might fill in more details that perhaps could have been part of the larger narrative here.
Small Things Like These opens theatrically today.
FILM: SMALL THINGS LIKE THESE
DIRECTED BY: TIM MIELANTS
STARRING: CILLIAN MURPHY, EMILY WATSON, LOUIS KIRWAN
RATING: 3 out of 4 stars
By Dan Pal
When Cillian Murphy won his Oscar last year for Oppenheimer it signaled that Hollywood respected his internal, less showy work over some of the others he was nominated against. This year he gives an even more smaller sized performance as Bill Furlong, a coal worker in 1980s Ireland. It’s an effectively executed part even if the film leaves us wanting more from the story and his character’s background.
In his early scenes, Murphy is quiet and moving about Furlong’s world of routines with what looks like a lot of worry and turmoil on his mind. He is married and has four young daughters. What little time he has alone, he sits in front of a window thinking about his past. When he sees a young boy walking home alone, he stops, offers him a ride, and gives him some money. There’s nothing unusual about this encounter but it does show that Furlong is a kind and giving person.
What takes a while to be established is just what is going on in his mind. We learn, through flashbacks, that he was an only child with one major male role model in his life. The man, Ned, clearly had a positive impact on him for a very short period of time. Before Ned and for the many years since, Furlong is dominated by women. Whether it be his own mother, the nuns at the nearby convent, or his own large family, women control everything. As such, he appears almost emasculated by them. He rarely looks them in the eyes and often has his head down while conversing. All of this is well-depicted by Murphy who gives another very controlled, nuanced performance. He does let loose a bit though when digging coal which appears to be Furlong’s only real outlet for his inner anguish.
The larger concern of the story is not really addressed until almost halfway through the film. There is a young woman living in the nearby convent, run by the Magdalene Sisters, who clearly wants out. Furlong, being the giving man that he is, tries to do what he can while being surrounded by all of these powerful women. Not the least of which is Mother Mary, played by Emily Watson. It’s obvious she makes the rules. Watson, like Murphy, gives a tightly subtle performance as the head nun who knows what she wants and how she expects her surroundings to be perceived.
The quietness of the film then is effective but also leads to a certain lack of drama that might have helped the slow pace a bit. The narrative plods along with Murphy and we wait for something big to happen. This isn’t to say that a major plot swing is necessary, but without it makes for a fairly static film experience.
Going along with this is the small Irish setting that is dreary and wet. Scenes are underscored with not overly intrusive but somber music. Again, this is to be expected but the film as a whole could offer something more.
We’re definitely interested in Furlong and the connection he establishes with a couple of the younger characters and there is a slight but important arc to his character but I think many viewers might leave expecting more of a payoff. The film is based on a novel which might fill in more details that perhaps could have been part of the larger narrative here.
Small Things Like These opens theatrically today.