L'histoire de l'ancien membre de l'Ulster Volunteer Force, Alistair Little. Vingt-cinq ans après que Little a tué le frère de Joe Griffen, les médias organisent une rencontre de bon augure e... Tout lireL'histoire de l'ancien membre de l'Ulster Volunteer Force, Alistair Little. Vingt-cinq ans après que Little a tué le frère de Joe Griffen, les médias organisent une rencontre de bon augure entre les deux hommes.L'histoire de l'ancien membre de l'Ulster Volunteer Force, Alistair Little. Vingt-cinq ans après que Little a tué le frère de Joe Griffen, les médias organisent une rencontre de bon augure entre les deux hommes.
- Réalisation
- Scénario
- Casting principal
- Victoire aux 1 BAFTA Award
- 10 victoires et 12 nominations au total
- Young Alistair Little - 1975
- (as Mark Davison)
Avis à la une
The first part of the film shows the killing of 19 year old Jim Griffin by a 17 year old Alistair Little in 1975.
The second part of the film depicts a reconciliation meeting for television between Alistair Little and Jim's brother Joe, three decades later.
Although the incident of the killing is apparently based on true events the rest of the story is fictional.
It is the one of many stories we will encounter in the years to come, now the Troubles are over and people look back on the past with different perspectives.
The story is essentially about two damaged men who are still damaged over 30 years later. One wanting forgiveness, the other unwilling to forgive.
James Nesbitt has the more showy role as Joe, with nervous tics, talkative with pent up frustration as he is about to meet the killer of his brother. He has revenge on his mind.
Neeson who ironically found a new wind with cinema audiences in the Taken films, is more calm, measured and assured as Alistair. He bitterly regrets the mistakes he made. All he craved when he was a youth, was acceptance from the elders of his community.
The final scene when he does get closure is priceless.
This is a small scale film which has something big to say. With Neeson, it attracts an audience and he delivers.
It is not a crash, bang, wallop type of film though. It is thoughtful and a slow burn one. Both Nesbitt and Neeson carry the story.
Because, as highlighted in this film, the question of forgiveness is not about erasing or escaping from the past but rather embracing it and find where the things left behind from the past, doesn't matter whether they were sweet or sour, fits to help bring out the most in life. The acting performances by both lead roles are commendable.
I have a confession--when the movie started I thought, okay, another pro-IRA movie with a heart. And it's not--it's a beautifully balanced movie about the personal horrors of the Northern Ireland bloodshed and the longterm aftermath as participants struggle to keep going.
The two main actors are both from Northern Ireland. Liam Neeson plays a Protestant who as a teenage killed a Catholic worker as part of the tit-for-tat violence of the time. James Nesbitt, a Roman Catholic, plays the brother of the man who was killed, and as a witness to the crime he holds a deep grudge about the murder. And in a key act of political insight, the actors were born on the opposite sides--Neeson was raised Catholic and Nesbitt raised Protestant.
The theme of the film is reconciliation in the mold of South African leader Nelson Mandela. The core of the movie is shot in a fancy Irish mansion where television crews are going to watch as the two men, mortal enemies decades before, make an effort to somehow move on, in public, on t.v.
How it goes is for you to see. The murder in the 1970s is fact, easy enough to believe, and the meeting of the men is fiction. Nesbitt is utterly terrific. You might think he's overacting (he is, of course, overacting) but it's appropriate, and gives this non-action film some intensity. Neeson is strong in his restraint and in the one main scene where he gives a well-written speech about how to understand these horrors he is also terrific.
The filming is extremely simple and in fact the whole scenario is relatively linear, even with all the flashbacks. There are some turns to the events by the last half hour, and in a way this is both the dramatic high and the disappointing low of the film (it resorts to somewhat corny and not quite smartly filmed sequences I won't elaborate). But overall the point is so strong and well meant it's hard to worry too much about whether it's a masterpiece.
It's not. It's sometimes slow, it says stuff we probably have absorbed pretty well by now, and it isn't very complex. But what it does do it does with compassion and conviction.
The two primary characters are very engaging; The emotion expressed and the reasons for it are carefully and sympathetically explained. There is a gentleness to the story amid the unforgiving violence. In no other historical or fictional portrayal have I heard so simply but properly explained why people got involved in violence in the six counties of Ireland.
I found it "cute" to hear Neeson speaking in his own accent for once.
A part not to be overlooked is played by Anamaria Marinca (Vika), a 'gopher' for the film crew. Her character added quite a bit of depth to the film. Neeson and Nesbitt should both be recognized for their riveting performances.
In most films today the focus is on revenge, blood, and murder. "Five Minutes.." includes these vices but, contrary to the blood and gore in many movies today, this film's focal points are, indeed, letting go, finding your life and living it, focusing on what means most to you, demolishing the demons that haunt you, and, most importantly, discovering that elusive human effort which leads to forgiveness. It's hard...very hard, and most of us can't bring ourselves to that end because forgiveness is many times viewed by society as weakness when it is, in actuality, strength.
Le saviez-vous
- AnecdotesLiam Neeson was raised a Catholic and portrays a Protestant. James Nesbitt was raised a Protestant and portrays a Catholic.
- GaffesLittle's photograph of Griffin's family changes between shots. In some scenes it has a border and in others it doesn't.
- Citations
Alistair Little: [talking to TV camera] For me to talk about the man I have become, you need to know about the man I was. I was 14 when I joined the Tartan gangs and I was 15 when I joined the UVF. At that time, don't forget, there were riots on the streets every week; petrol bombs everyday, and that was just in our town. When you got home and switched on the TV, you could see what was happening in every other town as well, and it was like we were under siege. Fathers and brothers and friends were being killed in the streets, and the feeling was, we all have to do somethin'. We're all in this together and we all have to do somethin'.
Alistair Little: The thing you have to remember, what you have to understand, is the mindset. Once you have signed up to terror, and joined the organization - the group - your mind closes right down. It becomes only *our* story that matters, not their story - the Catholics. It's only *my* people that are being killed, and here suffering and that need looking after. Catholics being killed? Doesn't enter your head. And so when I went up to Sammy, our local commander, and told him I wanted to kill a Catholic man, it wasn't a wrong thing for me to do. In my head, it was the proper, the just, the fair, the good thing to do. And so, it was easy.
Alistair Little: When I got to the house, there was a boy in the street. I didn't expect him to be there, but, there he was. I only looked at him for a moment because I had a job to do, but if I had known that he was Jim's brother, I would have shot him as well. It was in the mindset. It was tit-for-tat, and perhaps one more - why not? That's what it was like. I was only 17. I'd seen my people fighting ever since I was a wee boy. You'd take sides with your friends as a boy, but we weren't just throwing stones over the fence, we were shooting guns. What I want to tell people - what society must do - is to stop people getting to the point where they join the group. Because when you get to that point it's too late. No-one's gonna stop you. No-one's gonna change your mind. And once you're in, you will do anything. You will kill anyone on the other side, because it's right to do it. Once your man has joined the group, society has lost him. And what he needs to hear are voices on his own side, stopping him before he goes in. There were no voices on my side, not on my side of the town, not in my state. No-one was telling me anything other than that killing is right. It was only in prison when I heard that other voice. And the Muslims now, you know the kids now are like I was then. They need to hear those voices now, stopping them from thinking that killing is good. They need *their own* people to say "no". That's where they need to hear it, and that's where I would put my money - on making those voices heard in every mosque in the country.
Alistair Little: When I got home, my mother and father were watching the TV, and it came on the news that the man I had shot was dead. I was so excited, I couldn't wait for when I would get my congratulations. Sammy was going to come knocking at my door, he was going to lead me out into the street and proudly walk me into the bar, and everybody was gonna stand up and applaud. Me? I would've shot anyone for that. And that is why I talk to anybody who would listen now, to tell them to stop boys like me thinking that to shoot an innocent, and a decent man in the head, is a good thing.
- ConnexionsFeatured in WatchMojo: Top 10 Liam Neeson Performances (2012)
- Bandes originalesA Glass of Champagne
Written by Georg Kajanus
Performed by Sailor
Courtesy of Sony BMG Records
Under license by Sashay Music & Warner Chappell Music Publishing
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Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Chính Trường
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 15 676 $US
- Week-end de sortie aux États-Unis et au Canada
- 5 364 $US
- 23 août 2009
- Montant brut mondial
- 364 355 $US
- Durée1 heure 29 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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