Die unbarmherzigen Schwestern

I would give this film 20 out of 10! Excellent acting, nimble direction and very well crafted representations of real-historical events and persons. Eileen Walsh should get a special award for an incredible performance as Crispina - Eileen, you are fantastic! I look forward to more from you! What shook me was the realization that this movie captured the interplay of Dickensian exploitation interwoven with the fascistic barbarity of the church. The laundry was a slave-plantation par excellence as it ground its physically, sexually and emotionally exploited slaves within an atmosphere of sheer terror and self-hatred - we deserve what we get because we are guilty - shame on us - this is what the masters of every plantation on this planet sought to instill in slaves.

What I would have liked to see developed further was how this laundry-plantation fit within the wider Irish society - whose clothes were being washed, and what was their relationship to the people who were incarcerated here? Religion's role in the sheer brutalization of its adherents has been evidenced throughout history - no mass religion has brought anything other than terror, subjugation and self-hatred to women - this film proves it beyond doubt! As men, we are beneficiaries of such brutalities to women - and we are like Margaret's brother - who sheepishly mutters some nonsense about waiting to grow up while his sister lived in hell. What pained me most in this film was the terrible scene of uniformed men dragging Crispina out of the dormitory - to her destruction - and here the most painful part was noting that none of the women could shake off their terror to help their sister who cried for help. The scene captured in a brutal moment, the truth that tyranny can only thrive with our collective fear. Religion like other totalitarian ideologies rules by internalized terror.

Enough, go on and watch this movie, its worth every tear you shed, because in the end, you will find that being disturbed makes you recognize the suffering of every Crispina, Margaret, Rose, Bernadette among us.

The Magdelene Sisters is a good portrayal of the very real behaviour of nuns. I am English and emigrated to Canada with my family. I attended a catholic school which was run by these social misfits, and from my very first day, I was persecuted for the following crimes: I had a short hair cut, my hand writing was not neat, I did not know the words to the Canadian national anthem, I had an English accent, I was good at drawing, I failed to smile at the right time during assembly, I slipped on some ice in the school grounds and hurt myself. etc., etc., etc. I was hit countless times during my few months there - before I left the horrible place. I was constantly referred to as "the green horn Englishman",mocked and imitated because of my accent, and belittled because I didn't know the Canadian national anthem, which we were required to sing every morning before lessons began - (I'd only been in the country weeks - I soon learned it). I was kept behind after school regularly because my handwriting was "unacceptable", causing me to miss my bus home (I had a long way to travel). I was once hit across the back of my head with the words "you write like a boy, you talk like a boy - you even look like a boy". I was eight years old. My sister, who was ten, received remarkably similar treatment. I was terrified to tell my parents because I thought they would speak to the nuns and I would be worse off. Instead they thankfully took my sister and me out of school after she admitted what was going on. I have nothing but contempt for these people. I feel that anything which exposes them as they really are can only be of value to society, above all, for the protection of children.

Peter Mullan's (2002) film is based primarily upon the TV documentary 'Sex in a Cold Climate' by Steve Humphries which was first aired on RTE (Ireland) and BBC (England) in 1998. The documentary records the recollections of four Irish women who spent their youth and a good proportion of their adult lives as involuntary guests of uncompromising Roman Catholic nuns.

The film is set in a particular example of this institution which, somewhat akin to the English workhouses of the late 19th and early 20th century, became established in Ireland after the Second World War. The Magdelene Laundries took their name from the biblical figure of Mary Magdalene, a 'fallen woman' whom Christ befriended.

We join the main heroines of the movie - Margarette (Anne-Marie Duff), Bernadette (Norah-Jane No one), Rose (Dorothy Duffy) and Crispina (Eileen Walsh) in cameo as their entrance scholarships for the Magdelene Laundry are being sat.

What's most uncomfortable about this part of the movie, is trying to work out what's going on. Trying to work out what it is that's being whispered and what will be the upshot of it, and why. At first, it seems like the soundtrack of the film and the contrast have failed. But before long, it becomes obvious that the soundtrack of the film and the contrast have succeeded. The dark and deafening silence surrounding the circumstances under which these young women are being consigned to the unwelcome stewardship of the Magdalene Sisters comes through loud and muted.

We follow their induction into the laundry by Sister Bridget (Geraldine McEwan), ably assisted by the Sisters Jude (Frances Healy), Clemantine (Eithne McGuinness) and Augusta (Phyllis MacMahon) who contrive with formally celibate gentlemen like Father Fitzroy (Daniel Costello) to represent a world in which God's greatest ideal is achieved through punishment and penitence.

As the film progresses, we begin to understand why it is no accident that these institutions should have been laundries. They could - after all - have been bakeries, dairies, canneries or places where mailbags are sewn.

With every garment that passes through the process, unmentionable filth is cleansed - if the Sisters are to be believed. And if the Sisters are to be believed, the sins of the teenagers and the route to Heaven is bound up in hot water, salt and flagellation.

And as we follow these unsaintly girls on their hapless journey, we finally learn that salvation is as straightforward as a letter we are not privileged to read and a brother who arrives with a suitcase - as if there is anything that anybody could possibly want to carry away from a place like this.

This film is a powerful elegy to the suffering of these unfortunate girls who, constrained to silence for so long, have finally found a voice.

Enough has been said about the plot and characters by now that I am only going to add a personal note...which I strongly feel I must. I had to wait for this movie to be released on DVD before I got to see it....having waited patiently since I first read it won awards at the Venice Film Festival.

I am so grateful that Peter Mullen took this project on and that it met with such controversy because that was exactly what was needed for the film to get recognized and viewed by as many people as possible. The more people who see the film the better! The wonderful advantage of having waited for the DVD release is that it came with the brilliant documentary, ‘Sex In A Cold Climate` which inspired the movie.

As a X-Roman Catholic and a survivor of what I refer to as my incarceration...an oppressive Catholic education/indoctrination by the Sisters Of Charity (1957-1958) and the Ursuline Sisters (1959-1969), both old orders of the Catholic Church originating in Europe. I can state with battle-scarred alacrity that behavior as depicted in this movie is not only factual but not nearly cruel enough to tell the true story. From my experience...the Nazi's must have taken lessons in depravity and wickedness from the Sisters Of Charity! These were old world religious orders with dogmas and superstitions that have not changed since Christ's time. The practitioners of this primitive cult like barbarism were mostly ignorant of anything resembling reason or logic not to mention...science. The comparisons to the Taliban is not all that far fetched. Of course there was one or two nuns who had an occasional bout of compassion, but they were not only a minority, they were also downcast within the system. I also realize that not all Catholic orders are of the same cloth as the strict Roman Catholic variety, but I was born into the Irish Catholic variety...one of the worst.

It took me years and a loving cheerful husband to undo the deep melancholia I felt from having grown up with this kind of repression. Now, as a middle aged adult my depression has amalgamated into a outspoken and healthy anger at a religious institution and church that has been allowed for millenniums to abuse it's power. The psychological methods employed by The Catholic establishment is so devoid of compassion and full of hate that had it still existed today in America it would be considered illegal. The only reason these zealot fanatics got away with their brutal treatment of innocent children for so long is because the people they tormented were brainwashed with eternity in hell for even thinking of questioning such God given authority. I spit on that authority!

This movie is not an exaggeration! And it's not restricted to the religious orders in Ireland. If anything it didn't go far enough in depicting the true story. Not enough nefariousness has been said of an institution that routinely turned it's eyes on child molestation and the persecution of women perpetrated by it's leaders. I am so glad that all these Catholic Church and School survivors are suing the church and therefore bringing the atrocities to light. And I applaud Peter Mullen for making such a forceful case against inhumanity in the name of organized religion of any flavor. Christian, Catholic, Islam, Jew...they're all the same...it's all about control and power...and too often it's an aberration of it's original intent.

What is the difference between the parents of the girls in the asylum and the nuns who ran it? Absolutely nothing; they were both guilty of unspeakable crimes against these girls.

What is the difference between the nuns and Southerners? Absolutely nothing; they both used people as slaves.

The nuns silence as a weapon to keep the women from getting to know each other. One woman (Mary Murray) who ran away is brought back by her father (Peter Mullan), who beats her up in front of the women in the dormitory. Her hair is then cut off by Sister Bridget (Geraldine McEwan) in an attempt to further degrade her. In another instance, the three new arrivals along with others are forced to stand naked in front of a nun who ridicules their body parts. Crispina (Eileen Walsh) is sexually abused by a priest.

The Catholic Church has never apologized for the horrendous and inhumane treatment of over 10,000 girls that were imprisoned in these asylums over a period of 70 years, ending as recently as 1996. To this day, various Christian, Jewish and Islamic fundamentalists continue to subjugate women on account of their fear and hatred of female sexuality and freedom.