Banshees of Inisherin Review: Deceptively Complex
“Good luck to ye, whatever you may be fighting about.”
As one might expect, a film detailing the quarrels of an adult friendship is one that examines conflict with a new perspective, and nuance, than others of its kind. Tackling layers of thematic debates with doubly comedic and tragic dialogue that finds a perfect balance between exhaustion and humor, The Banshees of Inisherin is a film that is deceptively complex. Striking in its simple premise, hypnotizing in the sheer weight of the question “what could a pair of friends be arguing about for two hours?” Inisherin manages to entertain, provoke philosophical debates and break the hearts of all that are watching. Truly, these banshees have something to say.
Following Padraic (Collin Ferall) on his inscrutable quest to rekindle a friendship between himself and longtime pal Colm (Brendan Gleeson), the film moves at a delightful pace with lighthearted yet hard hitting dialogue as the two’s disagreement becomes only more detrimental to their lives. The comedy is one defined by long spouts, repetition and the interaction between wits and dullness. But, despite the ongoing ramblings that never fail to make the audience laugh, there is notable subtext in these lines. The most apt comparison is Thor: Love and Thunder, whose dialogue was a complete train wreck for lacking the subtext and heart but keeping the now obnoxious monologue style of comedy. Furthermore, the humor never overshadows the very real emotions these characters feel, prioritizing the effect this conflict has on the characters lives.
While these consequences are never lost on the viewer via narrative cohesion, what sells the unique pain behind these friends are the spectacular performances by Ferall and Gleeson. Opening on the kind eyes and small, dim-witted smile of Padraic, the film immediately makes us aware of his emotional vulnerability through visuals alone. From the opening frames the viewer feels for a character, and by extension a past relationship, that they’ve never met before, and for the ladder, will never see during the film. Because of this, it makes one wonder how the film manages to engage the audience so effectively, which can perhaps be answered by the miraculous ways in which the film toys with the viewer’s empathy. One moment we scorn Colm’s curtness, and the next we wonder why Padraic can’t stop talking for just one second. This back and forth develops a nuance that is, again, hidden in the simple premise, which the film takes advantage of. With a humble set-up, Inisherin has the room, and the talented cast and crew, to establish strong thematic links that effectively build upon the film’s foundation.
Set against the backdrop of the Irish Civil War, the metaphor is clear, and soon enough the attentive viewer will link the parallel plot lines that develop the film’s themes. It begins with the separation: Colm finds no purpose in speaking with Padraic any longer. With his limited years left on earth, and having felt nothing for an unspecified amount of time, Colm repeatedly stresses the importance of remembrance at the behest of kindness. Colm’s extremist thinking almost demands selfishness, which destroys the “dull” Padraic, who finds purpose in relationships and the bond created through mutual empathy. His proclamation halfway through the film of “I am Padraic Suilleabhain, and I am nice” is powerful and emotional rather than corny. The simplicity of this statement is tantalizing, as it widens Inisherin’s thematic debates to universal levels. Throughout the quarrel we see strong glimpses of humanity in both leads, adding to the nuanced outlook on a seemingly one sided argument. However, Padraic’s inherent goodness is tainted by Colm’s hate, and his war against nothingness delivers a few scars of its own on the fiddler. Both crushed by the rivalry, the film could end with a simple message of pro-kindness, but instead chooses to dive deeper.
The conflict between the two is already executed with thematic nuance not entirely touched upon here, but it is the side characters that make this story whole. Siobhan (Kerry Kondon), Padraic’s sister, deals with her own meaninglessness, one directly addressed by Colm. The relationship between Dominic (Barry Keoghan), the town dunce, and his police officer father (Gary Lyndon) reflects the themes of life’s fragility and the significance of a strong bond. Dominic’s own story is a cautionary tale of placing all of your life’s purpose on a single goal, much like Colm, whose pessimism and focus on legend shatters him, which is actually much like Padraic, and on and on it goes.
The Ouroboros of thematic development with narrative is striking and impressive, which when aided by careful placement of religious imagery in the frame, adds an element of prophecy to all of the discussions the film indulges in. Meaning, the cinematography too holds a strong purpose, much like every other tiny detail hidden in the gorgeous fields of Inisherin. While I wish the cinematography did more with the surrounding landscape, one way in which it succeeds is making the viewer feel acclimated with the story’s world. Weathered interiors, warmly lit pubs, a fork in the road Colm and Padraic routinely take separate paths on, Inisherin demonstrates its propensity for meaningful repetition in more ways than comedy alone.
And it is this contained nature, this quaintness despite the large backdrop of a civil war, that gives Inisherin such a fantastic atmosphere. One cannot help but be intrigued by the going on’s of a small town conflict between two old friends, and that is where this film’s biggest strength lies: engaging the audience in a seemingly pointless narrative. Much like Colm finds no purpose in being friends with Padraic, what purpose is there in watching two friends bicker? Well, it turns out quite a bit, and when executed with a unique vision and careful attention to detail, manages to touch the hearts and minds of almost anyone watching. So, become captivated, and enter the tiny yet universal story of Inisherin.