Brendan Gleeson is one of those actors who makes almost any
movie worth watching, and this one is no exception. Filmmaker John Michael
McDonagh, who gave him a great role in The
Guard has done so again in Calvary,
but the tone of this picture couldn’t be more different. In that darkly comic
film, Gleeson played a maverick policeman with an agenda all his own. In this
one, set in yet another small, tight-knit Irish coastal community, he’s once
again a loner: an old-fashioned Catholic priest whose honest faith in God puts
him at odds with everyone around him. The various townspeople, rich and poor,
have become hardened, cynical, or aloof, and because of that they dislike and
distrust him. He doesn’t even see eye to eye with his fellow cleric.
In the opening scene of the film one of those villagers, who
is justifiably angry at the Catholic Church, vows to kill Gleeson in one week’s
time. Who is capable of committing such a crime against an innocent man, and
can he be stopped?
Gleeson goes through a gamut of emotions during that
eventful week. His daughter (Kelly Reilly) comes to visit, following a failed
suicide attempt. She has issues with her father (who entered the priesthood
after the death of his wife) but the bond between them is strong—stronger than
she may even realize.
At times, Gleeson’s character resembles Gary Cooper in High Noon: a man who refuses to turn his
back on his town even though they have abandoned him. Events cause him to
question his own faith, but he remains pure of heart, and that’s what makes the
character so compelling.
Calvary is not
without wit or black humor, but it is a mournful film. It bemoans our loss of
faith and optimism—clearly this is not just about Ireland—and asks us whether
or not a truly good man has a place in that world, or is he a living
anachronism? With the resolution of the story, and its postscript, McDonagh
asks us to weigh that question carefully. If you stay through the credits (as
you should) you’ll understand, even more, why I choose to describe this
provocative film as mournful.