INTO THE WEST
A film review by Max Hoffmann
Copyright 1993 Max Hoffmann
INTO THE WEST, Not Rated
Color 35mm 91 minutes U.S.A (Irish co-production)
Max Reax = 8 on scale of 0 --- 10
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sux must see
Director: Mike Newell (of ENCHANTED APRIL)
Producers: Jonathan Cavendish, Tim Palmer
Prod. Co.: Little Bird Company, Lt.d
Screenwriter: Jim Sheridan (of MY LEFT FOOT)
Cinematgphr: Tom Sigel
Editor: Peter Boyle
Art Direction: Jaime Leonard, Mark Geraphty
Music: Patrick Doyle
Principal Cast: Gabriel Byrne, Ellen Barkin, Ciara'n Fitzgerald,
Ruaidhri' Conroy
(Not in release yet, I saw the world premiere at Sundance Film Festival in Utah, and had the privilege of meeting Gabriel Byrne in person at the reception. He looks ten years younger in person.)
A definite "must see" if you have kids, this film is everything that the annoying Mark Lester vehicles of the early 70's were not. From an adult perspective, the film is flawed by too many irons in the fire that go cool by the time it climaxes. Ellen Barkin has a throw-away role as the female, non-love interest, though she does a lot with the scant material thrown her way. Nothing is done with the evident chemistry between her and real-life husband Byrne.
SYNOPSIS: Byrne plays a pathetic, yet appealing alcoholic father with two young sons. Grieved over his wife's death, he rejected his gypsy ways (part of the "travellers" ... Ireland's itinerant tinkerers) to settle down in the squalor of Dublin's slums. Byrne's father appears with a mysterious white stallion, whom the boys immediately adopt. Heart tugging humor over the boys' attempts to keep the horse "hidden" in their one bedroom apartment. Long arm of the law steps in to dispose of the horse. Discovering the horse's new owner/home (they see it in jumping competition on TV) the young lads decide to kidnap/rescue the horse and escape "into the west," into a mythical kingdom their grandfather has told them about.
From there, the film moves in unexpected directions, as the horse takes on mythic, spiritual qualities, becoming a catalyst to help Byrne reclaim his lost heritage, and aiding the boys in reconciling themselves with their mother's death.
STRENGTHS: Newell has drawn superb performances from the two boys, who take up about 80% of the film's screen time. Their acting is so sincere and un-self-conscious that you suspect "invisible" cameras were employed. Ireland has a lot to teach Hollywood when it comes to child actors! As an adult you may be able to get more "into the film" by drawing parallels to a reclaimed "child within." It is overall a taught, well defined script, balanced by a beautiful musical score with lots of Celtic harp, and *magnificent* photography. The film will help promote some of the richness of Celtic culture to a broad, international audience. The film also demonstrates the decent "family entertainment" isn't dead on the American film scene. It is a breath of fresh air compared to insubstantial tripe like "Home Alone 2"
KNOCKS: some of the violence, though brief, may be too intense for younger children. (6 and under) It appears as if the writer/director got so entranced with the kids' escape from an unloving adult world, that they simply forgot some untied knots involving the manic villain, and Byrne as the father attempting to redeem himself. You may have to suppress a few laughs in the films climax in which some clumsy visuals are employed to help us "see" what the children see.
RECOMMENDATION: although the film has sweeping, magnificent cinematography (you will want your next vacation in Ireland) not much would be lost by waiting for the video, or viewing it on an airplane, where it will no doubt soon appear. If you have children in your family, it is a "must see" film, and your enjoyment would be augmented by a child's enthusiastic reaction. American film critics will probably not be fair to this film, due to the flaws mentioned above. I predict a short run in theatres stateside.
-- Max Hoffmann
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