Garage

Josie has been assigned the roles in life of pumping petrol and being the village idiot. He qualifies for the former role by being loyal to his boss, diligent about his work tasks, and friendly to the customers. He qualifies for the latter role because of some sort of mild mental disability that makes him slow to process ideas and not too good at standing up for himself. In fact he's not that stupid - one gets the impression that he was a slow child whom people got into the habit of talking down to, but that he understands more than other people acknowledge or that he even acknowledges himself.

People like Josie are litmus tests for distinguishing bullies from people who are fundamentally decent. The bullies, both teenagers and adults, treat him as if he doesn't even understand the cruel remarks they direct towards him. The people of conscience don't mock him because they know he can't respond in kind, and they recognise that he is capable of being hurt. However their kindness can only go so far: they can't engage with Josie as equals, they can't talk to him about relationships or children or careers, and the weather and the news of the town provide only a minute or two of conversational material.

Even more uncomfortable to watch than his treatment by the bullies is the use people make of him as a confidant of last resort. They unburden their hearts to him in the assumption that he has nothing better to do than listen to them, and expecting from him the kind of unconditional sympathy one would get from a pet dog. There is no reciprocation, nobody asks him how he is getting on, so Josie's unhappiness remains unarticulated beneath the conventional cheeriness that he presents to the world and the world expects of him.

The action of this slow moving film can be said to be driven by the intrusions of the wider world into a rural community. Josie's livelihood is threatened by economic development, and his role as the village idiot is threatened, if that's an appropriate word, by the dilution of the community with "blow ins". Being a village idiot is a cruel and marginal existence for Josie, but it does mean that when he takes a wrong turn, people have a ready explanation for his actions, and can be quite tactful and kind in nudging him back in the right direction. When the village fills up with more and more people who haven't known Josie since birth, his behaviour is in danger of being interpreted in a different way.

This is a good small-ish budget movie from Ireland that I saw screened at a film festival, okay really it was a little screening of a few movies from Europe at a small pub at university. There is some good dark comedy here as well as some very interesting and well done cinematography.

The story focuses on a guy who works at a gas station who ends up falling into a dire situation and needs to get out. He is a very lonely man with seemingly no friends and no real family.

The only other people around him don't seem to like or respect him and are even just mean to him.

I would recommend Garage even though at times it seems to drag and the plot is a little bit thin. Very interesting with some good shots and a decent performance by the lead, Shortt.

Garage arrives at a great time for Irish cinema. The output and standard of Irish film is at an all time low with an exception like Adam and Paul, a film from the same people that made Garage. Writer Mark O Halloran is a sure hand at capturing the subtle nuances of everyday Irish life. In his previous outing Adam and Paul he delved in to the world of two strung out Dublin heroin addicts. In Garage we join Josie in his hum drum existence as a petrol station attendant in a nameless provincial Irish village. Josie is not the sharpest tool in the box but his cheery demeanor aids the viewer in being won over by him.

Pat Short in his first dramatic role subverts his usual comic representation of the country redneck by infusing his portrayal of Josie with great pathos and genuine humor. Short has altered his stride in more ways than one here, totally changing his gait and physicality to become the character of Josie. It is an excellent performance from Short and as an Irish man who has been exposed to his previous life as simply a comic performer, a revelation.

Leonard Abrahamson who also directed Adam and Paul has made a film that is visually beautiful. The local shop, the quiet village street and the starkly beautiful Irish countryside punctuate the film creating a strong sense of place for the audience. These also serve to bring us in to the numbing routine of Josie's daily existence. He lives in terrible conditions but he blames no one and trudges on until closing time each day. Abrahamson revels in the everyday and the ordinary in Garage. Two men smoking outside a pub, a shop worker chatting to Josie outside her shop; these everyday scenes are woven in to the tapestry of Garage and in turn made in to something extraordinary.

Garage is a wonderful movie. Abrahamson as director and O Halloran as writer have made the best two Irish films of the last ten years in 'Adam and Paul' and 'Garage'. Finally I would just like to mention the great Tom Murphy who co starred in Adam and Paul as he just recently passed away. He will be sorely missed.

I'm English but I lived in Ireland for 6 years until recently. Do not be fooled, Ireland today is not the vibrancy of Dublin or the bite of the Celtic tiger - like any country it is a mixture that has it's fair share of sad, empty and lonely places. This film attempts to portray this - and succeeds quite beautifully. The filmmakers are also "responsible" for the brilliant Adam and Paul -a snapshot of the struggle to live in modern day Dublin with a shocking drug habit... and Garage is no different - a few days in a life that tell us so much but share so little. The dialogue is sparse at best, just a nod and a smile to indicate friendship. The tiny visual clues show us one man's life in pictures - his lonely dinner (he bought one pork chop from the butcher) his wash in a sink. This film is one of those that is nothing and everything. I can't recommend it highly enough. Watch it and feel grateful that your life is full and vibrant. That it doesn't end with your putting your socks in your shoes...

Here we have a real rarity. An Irish film that really evidences an understanding of the place of film grammar in the art of the cinema. This rural tragi-comedy looks at a very uncomfortable sliver of the human condition.

It is, largely, about the way that the complexities of modern life can render the simple-minded tragically vulnerable. Under normal circumstances I hate - indeed loathe - films that 'overtly' mimic the works of dwarfingly great film makers. I am not sure that Abrahamson (the director) actually sought to mimic the wonderful, indeed sublime cinema of Robert Bresson, but I am sure that that is exactly what comes to mind when the film is watched. Thematically, it has much in common with 'Mouchette' (not best Bresson, but very good Bresson!). Stylistically, it resembles parts of 'L'Argent'! That the above is the case and it still grips and appeals is a great credit to the film makers. But it is not completely 'echt' of course. There are parts of Bresson's magisterial style (his use of close ups, and his total command of sound for example) that are largely missing, but, make no mistake, this is a wonderful piece of cinema.

At the centre of it is the character of Josie, a harmless simpleton, whose guileless sincerity leads him to be the butt of the cruel humour of the would-be sophisticates with whom he shares parts of his rural existence. But fate has an even crueller plan for Josie.

Effortlessly characterised by comedian Pat Shortt, the director's unflinching gaze shows Josie's blameless naiveté in heart-rending detail - his loneliness, his pain at the cruel jibes and his unreasoned optimism.

I really hate the style of cinema that seeks to drag its audience into a slough of despond, but though tragic, 'Garage' doesn't do that, because it retains its clear belief in cinema and its potential to lift the human spirit to undreamed of heights.