The Gentle Gunman

Many British films make light of The Troubles (like the same team's 'The League of Gentlemen') in stark contrast to the earnestness with which they depict them in dramas.

By contrast this film paints a stark picture of the IRA when they wore trenchcoats and trilbies, the leads as usual played by Brits (and one Canadian) with authentic Irish players making up the supporting cast.

I could only rate this 5/10 mainly because of the atrocious casting.I do not accept Ealing Films could not cast this film in 1952 with more authentic Irish actors in the principal roles.Consider they casted these leads:John Mills, Dirk Bogarde (English) wobbly accents, Robert Beatty (Canadian) wobbly accent, Elizabeth Sellars (Scottish) wobbly accent.Ironically Eddie Byrne whom I always thought as Irish was actually born in Birmingham, England and Barbara Mullen was actually born in Massachusets, USA.A real mixed bag of actors and accents which completely destroyed the believability of this film for me.I suppose their drama academies had not taught them authentic Irish accents and had dredged every vernacular out of them in their quest for received pronunciation.

The part of "The Gentle Gunman" I enjoyed most were the verbal duels of Gilbert Harding ("What's My Line 1950s BBC TV version;Face to Face with John Freeman) with the actor who played old doctor O'Loughlin (from "A Night To Remember" 1958) and a Mrs Doyle (Father Ted) type woman operating the telephone exchange at an Irish post office.Film producers have an awful tendency to romanticise IRA type figures in films.

Hard to understand the mediocre reviews for this classic. Don't be put off - The Gentle Gunman is a must-see.

The story is engrossing - reminiscent of better-known Irish-revolution films like Odd Man Out and The Informer, and every bit their equal. The two brothers - one headstrong, the other cool and clever - are perfectly matched in a love-hate duel to the death.

The casting is hard to beat - John Mills and Dirk Bogarde together in one film. Wow. The supporting parts are excellent as well, especially Elizabeth Sellars in an unusually negative role.

Then there's Basil Dearden, one of the best UK directors of the 1950s, doing what is surely his best work ever. The photography is breathtaking, especially the scenes out in the hills of Ireland. These contrast perfectly with the dark and gritty scenes in London.

Unlike so many films dealing with the IRA, The Gentle Gunman manages to embrace both heartbreak and hope, while detouring expertly from the obvious love and revenge subplots.

I don't hand out 10/10 ratings lightly, but in this case it's barely sufficient.

As fate would have it, I bought a low price DVD with this movie shortly before the bomb attacks on the London underground on July 7th, 2005. I suppose the story is based on real facts. Members of the IRA planted bombs in London's underground system during WW II. This is what happens in the first part of this movie anyway, and an amazing amount of footage seems to have been shot on real locations. Dirk Bogarde plays the young Irishman who deposits the suitcase with the time bomb on a station platform full with families and children who are bedding down for a night during the Blitz, John Mills is his older brother, also a member of the terrorist gang but beset by moral qualms. He follows the Bogarde character and manages to throw the bomb into the tunnel just before it explodes.

Basically this is a story about the questioning of causes and of the justification of terrorist acts, specially in relation to the situation in Northern Ireland. In this aspect it is not unlike Carol Reed's Odd Man Out, made a few years earlier. The main character takes a critical view of the actions of the terrorists who in turn suspect him of being a traitor (not without reason). The action soon moves to an isolated road house on the Green Island, the base of the gang, and the point is clearly made, that all the actions of the terrorist are senseless and just cause harm to many innocent people without achieving anything but generating more suffering and hate.

What is really interesting for a viewer of our days about this movie is how the issue of terrorism is treated. The terrorists are basically presented as misguided dimwits who will never be able to shake the system. Compared with how terrorism is regarded today this treatment struck me as being a very mild and strangely relaxed view of people ready to commit atrocities. But then I came to understand that even terrorism and its impact have to be relativised. Compared with the surface bombings by German planes during the Blitz (a memory certainly still very fresh in 1952), the damages caused by a group of terrorists must have seemed very limited indeed.

This small gem of a thriller is set in the ambiguous battleground of Northern Ireland during World War Two, where a hotheaded young Irish patriot (i.e. terrorist) learns his older and wiser brother (a disenchanted ex-IRA soldier) has been suspected by his old comrades of duplicity. It may not be a classic, but the film offers plenty of action, some unobtrusive melodrama, and a script that never strays too far from the larger issues. The optimistic ending may ring false, but it at least provides a memorable punch line, when an Englishman and his Irish companion are shown celebrating their differences with a toast. Says the Britisher: "To England, where the situation is serious but never hopeless", to which the Irishman replies: "To Ireland, where the situation is hopeless but never serious."