The Run of the Country

This is both a coming-of-age movie and a fine picture of how the border between the Irish Republic and the Six Counties, and the ancient animosities of the place, become part of the landscape. There are no green plastic derbies or fuzzy pipecleaner shamrocks in this funny, touching and gritty portrait of a family, a young couple and a nation each torn in two. Finney's police officer is a man who believes in the system even when it clearly doesn't work, not an unknown type on that island, while the quirky, iconoclastic young farmer who takes our lad in hand shows much better than "Sins of the Father" how clever young men with good hearts find places a better world would keep them out of. As for the romance, well, watch the movie. It's very much well worth it. But it's a real world you'll find here, not "Finian's Rainbow," so don't expect to walk away with a cheerful Irish song on your lips.

There is no need to warn people away from "The Run of the Country" because at this point you are not exactly deluged with viewing opportunities. That said there is little reason to track down this film unless you yearn for some nice Irish scenery (including a fair red-haired Irish lass-Victoria Smurfit of "Berkeley Square" fame).

Although directed by Peter Yates, do not expect anything on the level of his "Breaking Away" masterpiece. Shane Connaughton adapted his own novel about characters living near the "artificial" border between the two Irelands. His characters are all contradictions. Teenage Danny (Matt Keeslar) is cold and reserved but given to moments of extreme impulse and passion. His father (Albert Finney) fluctuates between a wise caring philosopher and a nasty frustrated bully. His wild friend Prunty (Anthony Brophy) is a fun-loving free spirit who is secretly a very active member of the IRA. His red-haired Irish girl is the product of a mixed (Catholic-Protestant) marriage and fluctuates between a mature self-possessed young woman and a weak little girl who inexplicably fails to do and say very obvious things that would improve the situation. These contradictions might be effective allegorical elements in the novel but do not translate to believable characters in the context of a film, where there is not adequate time to explore their motivations and complexities.

The production is technically solid and the supporting cast is excellent. Brophy is the best of the leads and Keeslar is worst. If there was a box office reason for casting a handsome American actor as Danny (who was not a pretty boy in the novel), it did not serve them well and it totally alters the basic charm of the core romance.

The scenery is nice, David Kelly (the Irish builder O'Reilly in "Fawlty Towers) is excellent as the local priest, Carole Nimmons is very entertaining as Mrs. Prunty, and there are some funny lines. The weakest parts of the film are the closing scenes, which are soap opera melodrama. Up to this point the film has maintained a generally realistic tone and the resolution comes across as contrived and unlikely (insert disappointing here).

Charming, almost innocently told tale. Lovely Irish scenery and gentle, calmly-paced acting. Finney's strong presence does not detract, but rather melds into the story well. I found Keesler just right for the "wide-eyed" role he plays as hero of this yarn. The other supporting players also add much flavor to the rustic backdrop.

And the movie has some mild controversy. None of which has to do with cock-fighting or the IRA. It lies within the fiber of the telling. Some have said: formulaic. Some have said: episodic. Some have said: plotless.

Well, then...which is it?

Strictly speaking, "formulaic" movies should have a plot, and plotless movies cannot be "formulaic". Formulaic cannot be "episodic"...

I say: the movie goes about just as life does - haphazardly, full of turns expected and not. Each random event, another one of life's lessons which add to one's strength or weakness.

I recommend this movie to those whose view of life is not an exercise in the breaking the speed of light - but instead of a "taking in" of that light and welcoming the ensuing darkness as a natural flow and balance of all things.

The movie was powerful enough to help me realize I was in love. It defined the boundaries between romance, lust, affection, and love. Placed in the heart of the Irish countryside, "Run of the Country" explored the clash between a tradition-based generation and its modern offspring on subjects as delicate as love, sex, marriage, and family. Ultimately, if you're lucky enough to be in love with an Irish, you'll know exactly why.

This movie is an example of a movie destroying a beautiful story in an attempt to market it to please everyone. TROTC, the book, was a gorgeous 'boys story' about Danny, journeying from boy to man. The film revolves around his relationships with his best friend, Prunty, and his father. While the father remains intact in the film, Prunty is transformed from a heroic, sexual, powerfully built, deceptively savvy man to a neutered town idiot.

In the novel, the women were in the periphery: Danny's mother is dead in the beginning. His love interest is a bland but beautiful girl from the good side of the tracks. Danny is an awkward, gangley teen with bad skin who has no chance with the beautiful girl, but gets her anyway due to his heart and personality.

The movie switches the roles. Danny, still a great personality but now he looks like a Calvin Klein model. The girl, still a bland personality, but now she is equally bland looking. But she gets Danny. Why? The movie gives no clue.

My guess: the story was changed because the film is now aimed at teenage girls who want to see a plain girl with no personality get the super-hunk. Prunty was neutered so he didn't threaten the girls chances. Why switch the action from the 1950s to 1990s? I guess the target audience couldn't have coped with working their brains.