Belfast

The film Belfast is the Kenneth Branagh written and directed love letter to his growing up in Northern Ireland during the troubles in the 1960’s. I recall Branagh speaking to interviewer Mark Lawson with much affection about his time growing up in Belfast. Whilst in many ways this is an autobiographical story that has been fictionalised for dramatic purposes. It is indeed a privilege to be introduced to Jude Hill an extremely charismatic child actor who plays Buddy based on the young Branagh with Jamie Dornan Catriona Balfe Judi Dench and Kieron Hinds making up the rest of the protestant family as Ma, Pa, Grandma and Pop. This really is an excellent ensemble piece and the entire cast of leads and supporting actors give such touching, affecting and believable portrayals. The opening sequence depicts a modern-day Belfast a bright city full of colour before Branagh chooses to have cinematographer Hans Zambarlouskos switch to black and white as the camera pans and takes us back in time to 1969. We find ourselves in the working class street of 96 Mountcollyer Street and the hustle and bustle of a community-driven street where everyone knows your name. Kids playing with wooden swords and dustbin lids, the usual games of fantasy you expect enjoyed by that generation played in the streets. Little does young Buddy and his family know they will soon need to shield themselves quite literally from the onslaught that soon ensues. Akin to sound effects on a disaster movie the opening sequence is a very visceral one where you really feel Buddy’s world has been quite literally shaken up and will never be the same again. As opposed to a Paul Greengrass film like Bloody Sunday, unsurprising for a Kenneth Branagh film, this is not a film of relentless onslaught. In spite of us seeing the street separated with barbed wire and barricades, rather like the black and white cinematography this film has much light and shade. Amidst the troubles and the dogma of the church, we get to know a working-class family who have their share of trials and tribulations but also joys and happiness. through the eyes of Buddy. We see him growing up is trying to navigate his way through life, loves, childhood crushes, religious projections and being drawn off the road to righteousness. We also see how Buddy/ Branagh formed his love of films and theatre; (Incidentally wonderful to see the late and great actor John Sessions in full flight in a scene-stealing cameo), the switch from fantasy to reality as seen through Buddy’s eyes makes for interesting viewing as a standoff between activists and the people on the street becomes in Buddy’s mind like a scene from High Noon Starring Gary Cooper. Clever though the linking is and I really enjoyed those cross overs, some might find the idea a little trite. Whilst there is no denying the drama of this film, for many at times some scenes may feel a little too theatrical in their presentation. At times it does feel that Ma and Pa have stepped off the catwalk and appear impossibly glamorous and sixties chic. Whilst in 1969 many mums were glamorous it might feel a stretch for some watching considering the conditions of the time. Whilst there is no denying the sunny nature of the soundtrack provided by Van Morrison, some may find the segway of songs like Bright side of the street and days like these positioning in amongst the narrative of the piece a little too neat. Whilst at times the film can veer off towards sentimentality thankfully it is never allowed to steer too far from the montcleer street to saccharine street.