Die unbarmherzigen Schwestern

"The Magdalene Sisters" is not, as some have claimed, a one-dimensional anti-Catholic film exploiting what are arguably especially gruesome atrocities. It is a fact-based drama about three teenage girls who found themselves in 1964 sentenced to work in a laundry run by an Irish religious order for an indefinite term and under conditions that made most audience members shudder.

In three brief vignettes before the main title, the girls are introduced. One is brutally raped by a cousin at a wedding while priests perform traditional Irish songs. Immediately telling a woman, instead of support she becomes the subject of a hasty conspiracy to spirit the rapist from the wedding and to place her in the Magdalene asylum.

A second girl gives birth to a baby - in the not long ago past, illegitimacy was the label. She is pressured by a priest to surrender the baby boy and then she, too, is hustled off to the asylum.

The third victim is in an orphanage where she gets under the director's skin for no other offense than she is pretty and boys from the neighborhood crowd a fence to call down to her. Transfer to the asylum follows.

The Magdalene laundries made money for the order running them and the asylum to which the three girls were committed is, in this film, a moral charnel house. Sister Bridget, the head nun, interviews the girls while fingering, with almost erotic delight, rolls of money. Her desk sports a photo of President Kennedy but a picture of Ilse Koch would have been a more suitable iconographic representation of her character. She is a sadist, first class.

What follows is almost unrelieved tedium for the girls interspersed with brutal physical chastisement and agonizing sexual humiliation inflicted by perverted nuns. Sexual orientation isn't my issue, it's the awful victimization of helpless young girls.

Through the fine acting of the cast the complexity of relationships and the nature of choices become engrossing. To accommodate or to resist. To comply or to engage in sabotage, even in small ways as a declaration of non-surrender. Sabotage is possible but can an inexperienced and angry teen foresee the consequences of a minor act of resistance? An anticipated humorous defiance may well have tragic results.

The film centers on the three girls as well as several other asylum inmates ranging from a young woman descending slowly into irreversible madness and an elderly crone who believes her lifetime of servitude guarantees entrance to the Kingdom of Heaven. This tortured soul is the nuns' "capo," the inmate without whose help the asylum's strictures can't be enforced. Comparison to the Gulag camps and the Nazi concentration camps is apropos.

"The Magdalene Sisters" doesn't portray all the girls as angels but it does show the nuns and the occasional male clergy as evil exploiters and sadistic hypocrites. Is that fair? The end credits report that some 30,000 women were involuntarily placed in Magdalene asylums until the last one closed in 1996. Were all inmates so tortured and beaten? I don't know but these three girls certainly have had THEIR experience recorded for a population that appears to have turned a blind eye to what should have been a national scandal decades earlier. Their life after the asylum is reported in the end credits. All paid a price for a stolen adolescence.

The asylum in this film is pure evil, religious doctrine run amuck in the quest for money through cheap labor and in the riotous unleashing of perversity. English judges for centuries have often used a word rarely found in American case law to describe persons and events: the word is wicked. This film projects an unending parade of wicked people performing wicked acts. It doesn't condemn Catholicism, it indicts the operation by the church in Ireland of one type of soul and body destroying evil. The Church can no more defend the Magdalene asylums than it can the predatory pedophiles in the priesthood. That's the simple reality.

Audience members loudly gasped and a number cried during the showing. This isn't a film for the fainthearted or those who want their illusions about a bucolic and verdant Ireland filled with dancing and music unaffected by the reality of a genuine tragedy now coming to light.

8/10.

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.

Their idea of problem solving was more based on the Marque de Sade's idea of fun. If you are in the mood for sadism and horror...this is the film for you!!

I could not imagine that such a place as the laundry run by The Order of Magdelene Sisters could exist until I saw this film. The four girls that the story focused on Rose, Bernadette, Margaret and Crispina existed. I have been to Ireland and seen the beauty of that country. I once envied the life of those lucky enough to live there. I don't any longer.

The movie does not attack the Catholic faith so much as give a mindset of the 1960's in Ireland. My word here in the USA hippies were making love not war and these poor girls were only being human beings. I don't like to share the details of a film, but consider that one girl was an orphan and sent to the Magdelene's because she liked to flirt!! One was sent because she was raped!! My goodness, how barbaric can people be? film. And these people were nuns and priests for heaven's sake. Ah and let me not forget the parents who sent their daughters to that place. I will never complain about my parents again. Promise.

Please watch this film.

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.

'The Magdalene Sisters' would be a preposterous story, were it not factual. The actual names and circumstances appear to have been changed for the screenplay, but the original 50-minute documentary, filmed likely in the mid 1990s, tells us that everything, and more, happened to these children, virtually imprisoned for such things as having a child out of wedlock, or being sexually assaulted, or simply happening to look pretty. With no way out, they were forced to work long hours for no pay, operating the Magdalene Sisters' commercial laundry business, the last one until 1996. As one character, the old nun, explains, a strong Ireland requires that its men remain strong, so we have to remove temptation. The critic Ebert has a complete review. The only relevant "extra" on the DVD is the documentary, which features old photos and film, plus remarkable interviews with ladies who had been in a Magdalene Sisters asylum in the 1940s through the 1960s, including the three ladies around whom the movie's three main characters were built. A very gripping movie, well-acted.