The beginning of the Troubles was a harrowing time, but seen through a boy’s eyes, there is still some magic to cling on to.
The wonder in a child’s eyes as they become fascinated by the magic of cinema, to let your imagination escape into a picturesque fantasyland involving John Wayne’s travels across the Wild West, or the amazement at first seeing the flying car in Chitty Chitty Bang Bang – so close to falling off your seat at the cliff scene – is what makes Belfast reminiscent of the great Cinema Paradiso. With all great coming-of-age films of this ilk, there really is something joyous about a child clinging on to the very naivety that makes them a child – it is a rare and magical thing – and when that child is forced to navigate through a civil war that arrived at his doorstep, it is that precious naivety that helps to understand the world and the events around him. Belfast expertly captures the essence of the Troubles with humour, mysticism, and of course, pain.
Branagh’s aim was clearly to look back on this piece of history – a period he is no stranger to – with great romanticism than you would think is possible. To look back at this tumultuous time with such uniqueness, and such humour is a marvellous thing. The method in which Branagh uses comedy to instil a positive outlook on what was such a horrendous moment in time, is something that is rarely done, for obvious reasons – laughter isn’t seen as the most respectful tool now is it? Belfast uses the Troubles as a backdrop for a broader message, focusing on family, community spirit, and through the eyes of a child are all the nice things, the warm fuzzy things that help you survive.
The black and white aesthetic that is predominantly used is always a great stylistic decision, especially for historic events – it forces you back in time. It adds to the grittiness of the story, the event, the working-class environment, and the characters. What Belfast also does is incorporate colour at specific moments, to symbolize something significant, in this case, the fantasy like world of cinema which is vibrant and engaging.
As soon as Belfast begins it a musical treat for the ears. With Van Morrison creating the score for your film you know you’re onto a winner (it helps to have friends in high places), his music and voice are instantly recognizable, it evokes a sense of simpler times and positive feelings. Involving the great man himself was a masterstroke by Branagh, with his lyrics often mirroring what we see on the screen. This wasn’t the only stylistic delight though because the work that Haris Zambarloukos does behind the camera (a man who has worked extensively with Branagh over the years) is joyous – a proper cinematic experience. The framing is syncretic and induces a lot of symbolism towards family, hope, as well as the looming threat of becoming trapped in a prison, a metaphor for the regime in Belfast.
Belfast is full of interesting little surprises… it really is. Branagh tries to encompass the western genre – a genre often watched by the boys on the family T.V. – with some significance; the warring parties, the violence and the panic, the eclectic showdown towards the end – a stand off at high noon if you will – with the song “High Noon” by Tex Ritter humming over the scene, working with the camera to instil this notion. It’s a great narrative tool that brushes on some joviality over an intense situation.
I haven’t even mentioned the acting – how could I forget. Belfast has perfect performances all round; they are refined, and glorious. From Judi Dench – who still has so much enthusiasm left for her career – and Ciarán Hinds as the loveable “Granny” and “Pop” duo, to Jamie Dornan and Caitríona Balfe as the caring but fearless parents of the young protagonist, “Ma” and “Pa”. However, it is the young star of the film, Jude Hill as Buddy that really deserves lofty praise for his performance as the star gazing adventurer. An impressive cast like this can do no wrong, they all understand the project and have tremendous fun along the way.
Belfast really is a fantastic film that delves into something quite magical and extremely thought provoking. It is emotional (you will cry and laugh, that is a given) and offers an incredibly unique outlook on a terrible moment in the history of Northern Ireland. Is this Branagh’s best film? Well, he conquers the vision he had, and with a stellar cast and crew, was able to bring to life and deliver one the best films of the year. Branagh also wrote with textbook detail and complexity, it is as if he was projecting his own experiences as he saw it as a child, rather than looking back at it as an adult. The mysticism, the positivity is something only a child would see – the enjoyable and majestic moments of tranquillity – whereas a battle-hardened adult would surely look back at such memories with a more pragmatic view. This is clearly Branagh’s most personal film (no, it’s not Thor, sorry to say), it is beautiful, nuanced, heart-warmingly funny, and heart-breaking… a truly superb job.
Belfast will be available to watch in cinemas from January.
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