Omagh - Das Attentat

OMAGH

Aspect ratio: 1.78:1

Sound format: Dolby Digital

Unlike its voracious American counterpart, British TV is generally reticent about dramatizing true-life crimes and atrocities, fearful of causing public offence and generating protest in self-righteous tabloid newspapers. Writer-director Paul Greengrass (THE BOURNE SUPREMACY) has been negotiating this delicate minefield since 1994, producing some of the most compelling works in British TV history (including "Bloody Sunday" and THE MURDER OF STEPHEN LAWRENCE). And while he didn't direct OMAGH - an account of the search for justice following the Real IRA car bomb which exploded in the Irish market town of Omagh in August 1998 - his style is writ large over the entire production. Co-written by Greengrass and Guy Hibbert (SHOT THROUGH THE HEART), the film was directed by Pete Travis, a relative newcomer who distinguished himself in 2003 with his acclaimed TV drama HENRY VIII.

OMAGH focuses on Michael Gallagher (veteran actor Gerard McSorley), a quiet mechanic thrust into the media spotlight following his decision to pursue the shadowy figures who murdered his 21 year old son Aiden (along with so many others) on that dreadful afternoon. From the outset, the movie unspools with documentary precision, using hand-held cameras to enhance the sense of realism: The principal 'characters' are introduced in piecemeal fashion, via quick cuts from one scene to the next, but there's very little specific dialogue in the build-up to the explosion, in which 29 people died and hundreds were injured (primarily because the terrorist's vaguely worded tip-off led police to guide people directly into the bomb's immediate orbit), and the aftermath is reproduced in vivid detail. These difficult scenes are as sordid as they are necessary - the victims' relatives insisted on it - and the widespread grief which followed this appalling incident is depicted through the experiences of the remaining Gallagher family. McSorley's subsequent quest for justice leads him into contact with a wide variety of players, everyone from low-level police informants to some of Ireland's most prominent figures, only to find himself stonewalled by the politics of compromise. To date, no one has been tried for the Omagh bombing.

Respectful, honest and unemotional, this painful reminder of recent history simply records events as they occurred, without affectation or sensationalism. The acting is *peerless*, with McSorley a quiet tower of strength in the central role, matched every step of the way by Michèle Forbes as his distraught wife, and Brenda Fricker as police ombudsman Nuala O'Loan whose investigation into the Omagh inquiry uncovered a catalogue of errors and deceit. Campaigning television at its very best.

I am to young to remember the Omagh bombing but the film made you feel you were really their at the bombing and after.

The movie is based on a real event when 29 innocent people died by a car bomb planted by the real I.R.A (Irish Republican Army) The film focuses on Michael Gallagher and his family who lost there 19 year old son Aiden in the bombing. This results in the rest of the family trying to fit in without Aiden but fail. They then join a support group hoping to bring the I.R.A to justice.

Paul Greengrass(United 93,The Bourne Ultimatum) gives a fantastic script and Pete Travis does fantastic work in the direction and turns it into a movie that has you reaching for your handkerchiefs.

It is very rare to see a cheap film with a small and unknown cast and even an unknown director and turn it into a fascinating and wonderful drama that couldn't be topped no matter how much Hollywood stars or money would be put in it was a rare but special treat with almost no mistakes. Omagh will be very hard to find in a DVD shop but once you see it all that work will be worth it.

In 1998 the so-called Real IRA (a split from the original IRA that didn't agree with the peace process in Northern Ireland) exploded a 200 kg bomb in one of the most crowded streets of the city of Omagh. More than 30 dead, hundreds of wounded people... No one were judged for those crimes. The politicians were afraid that the peace process might end and just "let it be".

"Omagh" approaches to those facts from the point of view of the victims. The initial shock, the confusion, the anxiety... The first half hour of the movie is just hair-raising, and if you're a very sensitive person you should't see it. For the rest of you: the film is just superb, and it isn't gruesome at all. Pete Travis shows the facts as they were, but so carefully and with a style that makes the movie look like a documentary.

The work of the actors is outstanding, for it's so hard to play that kind of characters (they're so emotional).

*My rate: 8/10

Having just seen this film, I believe that some superlatives are warranted! The performances in this film are hauntingly powerful, most notably Gerald Mcsorley, whose immense portrayal adds credibility and resonance to the tragic story. The direction is magnificent...mostly shot in the style of a documentary, while refraining from actually being a mockumentary. This also adds weight. The fact that this creative, interesting and powerful film only finds a home on TV, rather than at the cinemas...while films like Sex lives and the Potato Men gets a general release, says a lot about the British Film industry!

I do not believe I have ever seen a movie that more truthfully and compellingly captures tragedy than Pete Travis's Omagh.

Omagh tells the story of the 1998 Real IRA bombing that killed 29 people in the city of Omagh, Northern Ireland, and the aftermath that followed. Yet what endears me to this film is that this could have been any town, any family, any tragedy. The film is completely without frills. It is one of the few films I've seen that does not romanticize death and tragedy. It has no towering musical score telling your emotions where to go (there is no score at all, actually), no dramatic final words, no sanguine epitaphs. Instead, Travis shows us what the camera usually leaves out -- the dirty dishes after the funeral party has left your house, the ubiquitous reporters asking for pictures of the deceased, the kind but nuisance of a neighbor offering help when you just want to be left alone.

The technical aspects of the film were all very well done, as were the actors' performances. Everything about the film makes you feel as though you are looking through a window into what really happened at Omagh, rather than watching an screen adaptation of the events. Omagh is well worth a see.