Martin McDonagh is one of the leading creators of plays today, but when he decides to try it with a film, it’s also worth it. His In Bruges, Seven Psychopaths or Three Billboards Just Outside Ebbing are gems, so we were not surprised that his new feature The Fairies of Inisherin won nine Oscar nominations. And we’ve seen her before too.
As the IMF sees it:
He is such “his”. I must say that the Fairies are growing beautifully in me, but at the same time I remember them too well to have the need to visit that godforsaken island again. McDonagh’s play, which has never been published, has its overlaps and the film material suits it (even if the coziness is omnipresent and you can feel the theater from it), but the central disintegration of the boys’ friendship and the effort to defy fate and break the shackles is only initially bearable.
Someone will enjoy the virgin nature, others the colorful staff of the place, where there is a church, a pub and a few farms, but just like Bruges, the Fairies are rather selfish towards the viewer and force him to go against them a lot. Take this as a warning if you’ve only seen McDonagh’s Ebbing and expect something similar. Anyway, a spectacular concert for Gleeson and Farrell in deliberately unspectacular settings.
As Cival sees it:
Martin McDonagh is undoubtedly a genius, both in the field of theater and screenwriting. And its novelty is also worth attention. A big one. A novel chamber drama, where the scale is increased only by the backdrop of the wonderful Irish nature, it concerns something as small and subtle as the disintegration of a friendship between two men – without significant reasons, excuses, dramas. And yet it works, even on a universal level, as a statement about the little big fusses of our crappy lives.
McDonagh excels again when it comes to darkly humorous dialogue twists, once again he entertains with punchlines and subtle nuances, subtle statements about things that are common, but usually unnamed on screen for their apparent ordinariness. That’s why it’s worth seeing, even if the film doesn’t have the ambition to dazzle in terms of style. However, the cast is top notch and Farrell’s sad guy will really deserve the Oscar. Three Billboards and In Bruges is a level higher, but even so, this high McDonagh standard deserves love.
As Rimsy sees it:
“You can’t run away from some things. I think it’s good,” muses the (perhaps) second stupidest person on the remote island of Inisherin, and by then the viewer already knows that McDonagh has not failed again. For some, the return to 1920s Ireland may be a bit of a disappointment, after all, the scale and action are somewhat diminished compared to Three Billboards; but in this case less is more and McDonagh’s unpredictable and unreadable characters manage to touch existential depth even in banal, repetitive dialogues.
Both Colin Farrell and Brendan Gleeson’s charisma are unsurprisingly at their peak, making their strange, yet metaphorically multi-dimensional and compelling feud a joy to watch. And so while we admire the photogenically inhospitable landscape, we can think about what we are confiscating ourselves with to delay the inevitable. It is true that the climax of the story seems a bit artificial and drawn out towards the end, but it is difficult to find more flaws in the beauty of this chiseled work. As is typical for McDonagh, he has once again made one of the films of the year – whether of the past or the current one.
Expect a review very soon.