A Love Divided

What has Ireland ever done to film distributers that they seek to represent the country in such a pejorative way? This movie begins like a primer for film students on Irish cinematic cliches: unctuous priests, spitting before handshakes, town square cattle marts, cycling by country meadows to the backdrop of anodyne folk music. Quickly, however, it becomes apparent that the main theme of the film is the big Daddy-O of Irish Cliches - religous strife. It concerns a protestant woman who wants to decide where her Catholic-fathered child is educated, which would seem like a reasonable enough wish, though not to the '50's County Wexford villagers she has to live with. Rather than send them to a Catholic school, she decides to up and leave for Belfast, then Scotland, where a few more cliches are reguritated. While she's there, her father (who looks eerily like George Lucas) and family back home are subjected to a boycott, which turns very nasty. I'm not going to give away the ending, not because I think people should go see this movie, but because it's not very interesting. One of the problems with the film is the central character: we're supposed to sympathise with her but end up instead urging her to get a life. The villagers are presented as bigots whose prejudices should be stood up to, but traumatising your kids seems an innappropriate way to go about it. In addition, it takes on burdens which it staggers igniminiously under when it tries to draw analogies with the current Northern Ireland peace process: the woman is told by her lawyer that she "must lay down preconditions" for her return. The film is allegedly based on a true story but it's themes have been dealt with much more imaginatively, and with less recourse to hackneyed cliches, in the past.

Generally I like something light and fun, so this film shouldn't have appealed to me. But it grabbed me from the start. The story of a family's choices and challenges seem obvious, but it raises the question over and over: "What if it was my family? My choice?" I cried and laughed when they did because I really felt what the people involved felt. It was in places difficult to watch, but more difficult to turn away. The story is true, and life is sometimes difficult to watch! It shows what film-makers can do without sex, violence, or special effects: a good story is a good story all by itself. The best and most unpredictable stories are all true ones. Like real life, you really don't know what'll happen next, or why people do the things that they do!

An excellent film that asks us to confront the fundamental issues involved when an authority acts to control the day-to-day decisions of families. In this case the authority is exerted by the clergy but could just as easily have been from the government, a political party, community standards and values, military orders etc. A village priest demands that a young girl be sent to a Catholic school. Her mother declares that the choice of which school to send her to will be made by her parents, not by the church. Conflict develops in which the village society chooses sides and treats its opponents viciously. Her husband wavers between love of his family and submission to church authority and local opinion, setting up a second conflict which we are forced to confront and evaluate. Each viewpoint, of mother, husband and priest is presented honestly and unflinchingly and the ending is equally honest: it does not insult us by giving us a comfortable all-is-forgiven happy-ever-after resolution. We come away with serious issues to be thought about. The script and acting are excellent and the film is an accurate portrayal of an Irish village of the period; having grown up in the Irish countryside in the 1940s-1950s I can vouch for its accuracy. There is none of the Oirishness or comic characters of Ned Devine; these are real people involved in a conflict that derives from each having a commitment to principles. This is a thought-provoking film set in a particular time and place but dealing with important human issues. No one from Ireland should be in the least embarrassed with the presentation. Having seen it in Dublin in June 1999, I sincerely hope it will be widely distributed in the near future.

I never fail to be amazed and horrified by the evil that has been predicated in the history of the world in the name of religion, and it seems that the machinations of the Catholic Church in Twentieth Century Ireland rank right up there near the top - considering that the wisdom of history and modern times should have had some sobering effect.

A Love Divided is the story of a real family scarred by ignorant intolerance and prejudice all in the name of an inane Church doctrine. At the beginning of the film, we are offered a view of the bucolic life in a small Irish village in which Sheila and Sean Cloney are happily married with two young children. Sean is Catholic and Sheila is Protestant, but she has no qualms with their children being raised as Catholic. There is no sign of any animosity between the Catholics and Protestants in the village. The peaceful and loving relationships are soon shattered when Sheila expresses the desire to have their older child attend the Protestant school. The local priest takes it upon himself to forbid this "sin" and soon has Sheila's husband and the entire Catholic population of the village turned against her as well as her father, the local dairy farmer. In an act of defiance and desperation, Sheila kidnaps her two daughters and flees from the area.

Special note should be given to Orla Brady who plays Sheila. She gives an extremely powerful performance in which the viewer is drawn in to the emotional trauma in which she decides to reject the wishes of a husband she deeply loves in order to express her fervent desire to establish herself as independent from the pressures of the establishment. On an equal footing is Liam Cunningham who plays Sean for he gives a realistic portrait of a man not nearly as complex as his wife who is torn between his love for her and the influence of Church and community.

If fiction, this film would have been a compelling and interesting drama. Considering it is true, it changes to a horrific tragedy. In real life, the people and the village never fully recovered from the events that took place there. It took almost half a century for the Church to acknowledge its negative role in the events, and even though Sheila and Sean lived out their lives in the area, they never fully recovered from what was done to them by the religious leaders and their fellow villagers.

Whether it be denying basic rights to education of choice, crashing planes into buildings, subjugating women, condemning whole races, or just plain on torture and murder, we humans certainly have the ability to use religion as a powerful negative force in our society.

I thought that this picture had vanished from sight when it got an unexpected but fairly wide release in Northern Ireland. I am glad that a much bigger audience can now see it as it is a very honest and thought provoking look at the power held by the church in rural Ireland in the 1950.s, a period with which I can identify.Although it includes a who's who of the Irish acting fraternity, they all put in some magnificent performances. The picture is a study in control, and how the controller will respond if anyone dares to challenge their authority.Liam Cunningham is very believable as the Catholic husband torn between the love for his Protestant wife ( Orla Brady ) and the demands placed on him by the parish priest for his two girls to be brought up as Catholics. Based on a true and well publicised incident in Co.Wexford, forces us to confront the bigotry which blind faith can lead us all to.I recommend this picture to anyone who is out there, go and see it.