Ennemis rapprochés

I love movies from this timeperiod. They carry a vibe that's gone in modern day movies. Different camera action, less pace (even action movies) and a different psychology of the characters. TDO is not the best movie of it's genre, but Ford and Pitt bring a lot of weight to it. Pitt is charming as always, but is also convincing portraying a ruthless IRA commander. A decent script, lovely irish accents and convincing motives for the characters make this a nice movie for a sunday afternoon.

What is it with American-Irish? Some of their richest and most respectable members have poured millions of Dollars into the IRA, harboured some of their members, idealised the notion of a "fight for freedom". Believe me, as a Scot, with William Wallace et al I've always had a certain affinity for heroes. But the IRA are no heroes. They've become Northern Ireland's drug-dealers, extortioners, gangsters. The people of Ireland as whole have had enough of them and their way of terrorising innocent people. May it be the IRA or the UDP, the notion of a Catholic V Protestant jihad has long ago turned into a simple cycle of self-perpetuating violence. These men and women are no longer anything resembling the oh-so glorious Michael Collins, they are terrorists who don't know when to quit and never knew anything but how to fight. These men aren't the Brad Pitts of the world, nor is the British Army an oppressor anymore (considering that over 90% of the locals support the Army, simply because it provides protection). Yet in 1997 we still got the great toss of this movie, showing us how brave Irishmen fight against an onslaught of British stormtroopers and evil S(I)S men. Somehow it seems that America is hell-bent on keeping up the idea of the stiff upper-lip English villain. May it be The Devil's Own, Braveheart, U-571 or most recently The Patriot, Hollywood seems bent on demonising the US' closest ally, both politically and culturally. I may not be a great fan of the English, but even I know what harm stereotypes can do. Perhaps the writer should have gone out to the streets of Belfast and asked ordinary people what they think of the IRA. Perhaps the writer should have also approached a soldier and asked him what it's like to occupy Northern Ireland. Somehow, I have severe doubts that a movie about the post-WW2 SS-"Werwölfe" guerillas would be quite so romanticised.

And this movie has a Riverdance sequence. Oh please....

Brad pitt, harrison ford. Frankie lives in ireland, in the early 1990s, where the irish republican army is alive and well. When he comes to the u.s., now he's rory, and staying with o'meara, a cop. Rory is here on a mission to get weapons to be used back home. When the deal goes bad, it brings violence to o'meara's door. And he's a cop, so he's got to do something! Small role for treat williams. It's mostly really good. It gets a bit awkward towards the end, but can't say too much. It feels like some scenes were cut out. The trivia section talks about reshoots and multiple script issues, but for the most part, it's not bad! The last twenty minutes were a bit choppy but overall, good story. Directed by alan pakula. Was nominated for some huge films over the years. Story by kevin jarre. At one point during the film, pedestrians walk past rory, humming the theme to rocky; jarre worked on several "rambo" projects with stallone. Died young at 56.

Starring big stars Harrison Ford and Brad Pitt The Devil's Own is a strange film- While The Devil's Own doesn't do a spectacular job of fulfilling the promise of its cast or its complex politics-and-guns premise, it is nevertheless reasonably well-paced. The less intently you watch this movie, the greater the chance that you'll be pleased by it. Unfortunately, if you're paying attention, it won't take long to notice that very little of the last act holds together. That sort of high-tension, mind-numbing climax makes it difficult for me to retain more than token enthusiasm for the production as a whole. Pitt and Ford do credible jobs as Frankie and Tom. Despite his character's brutal, bloody past, Pitt manages to capture our sympathy, in large part because, aside from the killings, Frankie seems like a likable sort of guy. Ford, in a role that's a far cry from the cocky Han Solo, recalls Jack Ryan, the protagonist of Patriot Games and Clear and Present Danger -- a hero whose armor is just a little too shiny.

I say this making no pretense at completely understanding the Irish conflict myself (you'd have to ask someone with experience of Belfast for a more authentic take on the situation), but the irresponsible way the troubles were used here as a backdrop to what is supposed entertainment staggers me. It isn't as if it needed this detail; the terrorist could have been from any unspecified organisation. In the incompetent handling of sensitive issues that the makers really have no idea of, the production team involved in this really have let themselves down. Brad Pitt realised this too late and henceforth disowned the film, a fact which made me admire and respect him even more.

For this I wanted to hate the film, and yet found myself unable to. Beneath the misbegotten attempts at 'political comment', there is a decent little thriller struggling to get out. Pitt is great as the terrorist (dodgy accent aside) and Ford is as reliable as ever in the role of the honest cop. Director Pakula keeps the story moving at all times and stages the action well. Despite all these pluses, I constantly felt uncomfortable at the ways in which the script tried to manipulate my sympathies. While it's not quite enough to make me downgrade the film on an enjoyment level, it loses big points from an ethical perspective. Shame on you Tinseltown.