Belfast

A very solid if unremarkable coming of age film set during the Irish troubles of 1969.

This movie was very reminiscent of the 1987 film "Hope and Glory," only that film was much better. In fact, this movie reminded me a lot of the kinds of films that came out in the late 80s and throughout the 90s, accomplished and pleasing Oscar bait movies that gave not especially sophisticated adult film audiences products that were good and substantial enough to make them feel like they were seeing something important but safe enough to never make them feel challenged or threatened.

For me, what gave "Belfast" its heart was not the central story about a little boy and the parents who want to give him a better life than war-torn Ireland allows, but rather the side story about the enduring love between his grandparents, played by Ciaran Hinds and Judi Dench. The best scenes in the movie were the ones featuring those two, and Dench's scene at the end is the one that lingered with me most. I was thrilled to pieces when both of them were recognized with Academy Award nominations.

Grade: A-

Writer and Director, Kenneth Branagh provides this heart warming reflection of his childhood in an all black and white feature depicting Belfast from 1969. Through the eyes of a 9 year old boy, you experience the trauma of obstacles, the joy of simplicity, and the impact of genuine relationships in this story about one family wrapped into a story about one country.

Synopsis:

"A semi-autobiographical film which chronicles the life of a working class family and their young son's childhood during the tumult of the late 1960s in the Northern Ireland capital."

What You See, Feel, and Hear

This film is much deeper than what is represented on screen. On screen, you experience a very neutral energy within the script. Even with devastating moments you don't necessarily go through a journey of difficult emotions throughout the film, but rather it's as if you're watching "real life" depict itself on screen. The story was blatantly.. simple? As a viewer you're looking to get attached to something in order to feel invested within a film and that seemed a bit difficult at times. With minor moments of relationship building and humorous interactions I found myself a bit scattered with what I was focusing on. One thing I fell back on was the camera work. With a very simple story, Branagh introduced his version of creative camera work to capitalize on the art of storytelling. I relate this camera style to Wes Anderson with stationary movements and intriguing camera angles to enhance the subjects that were in place.

The acting was phenomenal yet I fear may go unnoticed. Jude Hill executes beautifully on his feature film debut as he manages the tone of emotions throughout the entire story as a 9 year old boy. The performance that allowed me to feel the severity of the circumstances was from Caitriona Balfe (Outlander, Ford v Ferrari, Escape Plan) who plays the role of Buddy's (Jude Hill) mother. I found it impressive how Kenneth Branagh truly made this film his own. This was the first script Branagh had written since 2006 where he wrote "The Magic Flute". Many cast members, including the production team, were raised in Belfast and had personal connections with this story. You even see a nod to Branagh's directorial work as you see Buddy reading a Thor comic (Branagh directed "Thor" in 2011).

Branagh decided to make this film black and white and I can only imagine that he wanted to capture the right energy with this script, especially while taking place in 1969. Within moments of the story you see the detail of art at work as emotions change strictly due to the use of cameras and sound. With a $7 million budget there wasn't a lot of room for substantial changes including lighting. Almost all the lighting during this film was used with only available light, meaning no additional lights were supplied even for scenes taking place indoors. The score was loose and "fun" and supplied a sense of childish light to the darkness of circumstances taking place.

My Take

I was a bit underwhelmed with the plot, and very pleased with the creative work and acting performances. The up-close dynamic of cameras on abstract angles was used almost perfectly. I thoroughly enjoyed the relationship between Buddy and his grandfather, their humor matched each other and though there weren't many moments between the two of them on screen, the ones that you do experience are the ones you remember most. I also enjoyed the authentic love story from the perspective of a 9 year old child. The most interesting secret was the color transition between black and white to color with specific scenes. I imagine this was due to separate fantasy and reality or past and present but regardless, it added a touch of curiosity and changed my passive viewing behavior to an active one. Overall, this is a beautiful film that is exceptionally slow from start to finish with subtle spurts of spontaneity.

Grade: 7.2/10.

"Go. Go now. Don't look back. I love you, son." Granny (Judi Dench)

You can complain that Kenneth Branagh his filtered his 9-year-old Buddy (Jude Hill) through his own rose-colored revery of the 1969 bloody ethno-nationalist uprising in Belfast, and you'd be right. However, like all of us remembering, that past is most pleasantly remembered through the lens of loving family struggle that binds.

While Branagh doesn't shy away from how the Northern Ireland Troubles between Protestants and Catholics was challenging all families, his endearing portrait of Buddy as a curious and sweet, albeit precocious, school boy for whom the biggest conflicts are figuring out how not to emigrate from Belfast because of the violence and connecting with the elusive little blonde who occupies the top of her class with Buddy.

One of the best movies of the year, Belfast gives scant references to Branagh's eventual rise to the top of his filmmaking class and emphasizes the effect a loving family can have on a small-town lad. Especially nostalgic is his interaction with his Granny (Judi Dench) and Pop (Ciaran Hinds), who best represent the benign Belfast world, the one so difficult to leave behind.

Branagh brilliantly chooses a sharp black and white for most of the film, as if to say, "Unlike the color opening, my story will be realistic in a cinematic sense that black and white usually represented in mid-20th century films." Adding a bunch of bad-boy Van Morrison tunes is a perfect surround-sound for the contradictions of Buddy's coming of age in a civil war that is both secular and religious.

The joy of this film is the 9-year-old's warm, nostalgic remembrance of a war-torn land. Belfast confirms the suspicion that those of us lucky enough to grow up in a loving family can survive war and even coronaviruses and become world-renowned filmmakers.

Belfast is one of Kenneth Branagh's best films, and that is saying much.

Writer-director Kenneth Branagh tells a semi-autobiographical story. Young Jude Hill is playing in the street outside his row house, when suddenly Protestant gangsters march through and smash every Catholic household's windows, rip up the paving stones, and drive everyone, Catholic and Protestant alike to refuge. Soon the British Army is setting up occupation of the street, as the neighbors help each other, and Hill's immense extended family, presided over by grandfather Ciarán Hinds and grandmother Judi Dench seem to take everything in stride. But there's family problems as well as religious ones.

This movie reminded me of 2018's Roma, an important moment in history through the eyes of a boy filtered through the adult sensibilities of the film maker.... but without the extreme deep-focus camerawork that kept me wondering when we were going to start telling another story. Branagh gives us visual fireworks, with the attack on the street shown from young Hill's perspective, with a double-360-degrees panorama in slow motion.

In the end, the story is less about flashy camerawork or the religio-political uproar of the times, but how a loving, committed, decent family gets on with life, raising children, earning a living, and loving each other. Most stories about love are about the big events, the flashy events. This one shows us the day-to-day of love while everyone else is worrying about the big events.

A lovely film, well filmed and beautifully acted by the main actors and particularly by Jude Hill. Filmed in black and white it caught the era well and the soundtrack by Van Morrison was perfect.