The Tiger's Tail

I was an extra on this movie, in the Awards Dinner scene near the beginning, and I looked forward to the finished product with some trepidation because the dialog seemed quite poor. However, i have been pleasantly surprised. This is a good movie, and maybe I'm stupid but I didn't see the ending coming; It thought it was a very good resolution, and I don't understand why one reviewer says it leaves numerous threads hanging. I thought all of the production values the music and everything were very good. My criticisms would be the same for most Irish movies; the relatively poor acting of the more junior actors (I refer in particular to the drunken girlfriend we first encounter in the Temple Bar nightclub. There were other weaknesses, things that could have been much better handled such as the first appearance of the doplleganger, and O'Leary getting coshed in the toilets (again, bad acting by the other actors there). Some things were just stupid, like the statement that the more houses O'Leary builds the more homeless there are; Boorman should stick to the directing and leave the economics to others. Kim shouldn't have attempted the Oirish (sic) accent. It would have been quite believable for O'Leary to have married an American, and better, even.

It gives a reasonably good insight into middle-class Ireland, and a glimpse of the world of the down-and-out (which is the same everywhere, I suppose). I stayed until the very end of the credits.

I have read some of the different opinions here and I concede that some of the points made could be relevant to this film. Most modern films do very little for me (I've been filmgoing since the 1950's) but I really enjoyed this film immensely with the possible exception of the way the "situation" was resolved in the end. However, most people could probably think of a hundred ways to end this one so I accept the one chosen. The acting was first class, Seamus Deasy's photography was spot on and Stephen McKeon's wonderful score raised it all a notch or two. What a refreshing break from the ear-bashing, grossly offensive noise that passes for film music these days. I give it 7 because, quite simply, I enjoyed it and that's what counts in the end, not who didn't speak very well, who was or wasn't liked in it and how bad Irish society is today.

I go to Theatre and Cinema to be entertained. This film did it for me. A good story, good acting, well shot scenery... what more do I require? There is no hard and fast way of speaking, if you live in Dublin. Therefore , we must remember there are no rules... So we cannot break them. Bad accents and diction can be heard every day from people who use their voice. Take our Radio and Television front men and women, who frequently refer to 'Fillums - Tremenjus- and excepted, instead of accepted.... Do we hang them out to dry? So what if an American Actor didn't quite get it right. Did she not convince us that she was a wronged wife in a bad marriage? Did Gleason not come across as a man with many problems, who was in fear of ruining himself? Did John Kavanagh,Sinead Cusack, Sean McGinley and many other good actors not grasp the role and present it as such.? I liked it... well done John, Cast and all concerned.

I'm not sure whether this movie was good or not, but I kind of liked it. It was peculiar, but in a good way (not like Solondz's Wiener-Dog I saw recently).

The "Celtic Tiger" part was of no relevance to me - I wouldn't know whether it portrayed 2006 Ireland accurately or not; I was viewing this movie as a regular stalker flick, and, as such, it was quite engaging.

The acting was good, especially by the lead male. Kim Cattrall's role was not a major one, so her accent didn't bother me, especially since everyone in the movie had sort of a "neutral" accent. Having been to Ireland, I can say that none of the people in the movie sounded like the natives I met on my trip to Ireland.

The set-up was very good and engaging, but the movie declined significantly upon the doubles's entering the protagonist's house. There is no way something like this would happen in real life. It was just not believable. I was also sort of offended by the way they chose to portray the wife - as though they were trying to say that women are generally dumb and shallow, and the only thing they care about is for a man to pay attention to them. This is inaccurate and there is no way a wife would mistake a stranger for her husband of many years. Perhaps they were meant to imply that Jane knew all along that it was the double (if so, I must have missed it), in which case, perhaps, I would have seen it differently.

The ending was also kind of weird, but very original and somewhat satisfying and thought-provoking.

All in all, an enjoyable movie, and definitely superior to many a stalker flick I've seen lately. Would recommend.

Weaving in philosophical quandaries of doppelganger definitions of self with taut suspense and scathing social commentary, writer/director John Boorman's latest film dripped with promise. And while this may have been a promise superseded by the film's overambitious reach, The Tiger's Tail proves an entertaining amalgamation, despite the frequent creative misfires.

Boasting an intriguing premise, the film is at its strongest when dealing with the central plot thread of a wealthy Irish businessman (Gleeson) having his comfortable life usurped by his violently unpredictable twin (also Gleeson), falling into destitution in the process. This effective, almost Hitchcockian thriller toying with notions of doppelgangers, sense of self and definition of identity makes for a sturdy start, which sadly ends all too soon, falling short of the taut suspense piece it could have been. After this central storyline has run its course, the film begins to waver, jerking around with contrived plot twists and becoming somewhat of a confused muddle before culminating in a genuinely unorthodox if unsatisfying ending. Imbalance is the word of choice as the film's tone and plot flip-flop throughout, stuffing in as much social critique into the narrative as possible and slathering everything on rather thickly, from the central theme of the rich/poor divide (though whether Ireland's is truly the most dramatically so in all of Europe, as the film states is questionable) to the soaring crescendo of dramatic music, while underplaying the development of other intriguing plot threads (O'Leary seems oddly unsurprised by the unnerving discovery of his secret sordid past) to underwhelming effect.

However, director Boorman excels in his less than flattering, darkly satirical depiction of contemporary Dublin: indeed "a land Joyce would hardly recognize" and a far cry from the country's usual romanticized cinematic portrayals. Boorman's Dublin is a rank, filthy place more akin to the worst days of New York, filled with poverty, destitution, endless traffic, street-fights and vomiting teens - a city who would whimsically release their entire supply of non-violent mental patients onto the street to cut costs, in one of the film's most staggering lapses in judgement. An ode to the city's culture this isn't, but an intriguing cinematic cry for change it is. But in the end, despite the noticeably flawed delivery, the film proves a consistently entertaining watch, never slowing down enough to become anything less than enjoyable, if slightly frantically so.

Brendan Gleeson shines in a much needed starring role, wonderfully essaying both the grimly successful businessman and his shady identical twin with convincing distinctions and charisma to spare. However, the horrifyingly miscast Kim Cattrall easily proves the film's weakest point, her performance as consistently unconvincing as her shriekingly insulting attempt at an Irish accent. From her wobbling between unsatisfied wife to vacant shopaholic, to her never once reacting to the events surrounding her in a convincing fashion, coming as low as succumbing to attempted rape with sordid glee, Cattrall's performance and character scream of every shade of wrong. Briain Gleeson, real life son of star Brendan is an endearing and amusing presence as the protagonist's communist enthusiast son, even if he lacks the necessary exposition to jump from being wryly cynical to melodramatically disenchanted with life. Ciarán Hinds is a charming addition as a well meaning priest, and Sinéad Cusack does her best to keep herself from veering over the top in a laughably poorly written role as the mysterious family member connected to both O'Leary and his dark counterpart.

However imbalanced and overambitious the film may be, overlooking character and narrative development for over-obvious social critique, The Tiger's Tail remains a uniquely entertaining anomaly in spite of itself, anchored by a well deserved star turn by Gleeson. While hardly one of the strongest pieces of Irish cinema to emerge of late, the film remains an enjoyable and intriguing watch for those willing to side-step its frequently flawed delivery.

-6/10