Notes on Black ’47

Notes on Black ’47

This article is part of the Notes on Failure series, which discusses interesting cinematic failures. Previously, Mary Magdalene.


The Great Famine is the most significant event in Irish history by some distance. It killed around a million of the eight and a half million or so people on the island of Ireland, and turned another million into refugees. The loss of population didn’t stop there either: devastated economically, mass emigration drove the island’s population down to around four and a half million by the 1920s, where it hovered for a good fifty years. It began to climb steadily from the 1970s onward, so that now, over 150 years later, we’ve just about returned to where we were after a plague wiped out a quarter of our population in less a decade.

The Famine is well-represented in literature and song, but, until last year, with the release of Black ’47, never in film. There was, some might argue, the increasingly obscure silent feature Knocknagow (1918), based on the novel of the same name, which is ostensibly set in rural Tipperary in 1848, but it only depicts evictions, not starvation. The Irish communist author Liam O’Flaherty, whose novel The Informer was adapted for screen by John Ford, wrote his novel Famine with the explicit intention it be made into a film, but it never came to pass. Stephen Rea, who stars in Black ’47, told Today FM he’d been approached about a famine movie in the nineties, but the American producers thought it was too heavy. (“How are you going to lighten it?” Rea’s agent asked, “Feed them?”) So, here we are, with Black ’47, the first film about the Great Famine.

Because the Famine looms so large in the Irish consciousness, yet is so invisible on screen, I’ve often thought about different ways the subject could be approached in a film. The Western seemed the perfect fit, the ruined Irish countryside replacing the lawless desert wastes, so I was really excited when Black ’47 was announced.

Folks, it was bad.

Continue reading “Notes on Black ’47”

Notes on Mary Magdalene

Notes on Mary Magdalene

This article is part of the Notes on Failure series, which discusses interesting cinematic failures. Previously, notes on Hamlet (2000)


I was looking forward to Mary Magdalene for like a year. I liked Lion, director Garth Davis’s debut film, and Rooney Mara has an outsized place in my heart thanks to her work with David Fincher. But mostly, I love religious films. It’s hard to say that when Pure Flix have made a cottage industry out of crap like God’s Not Dead, films designed to reassure Christians that of course you’re better than everyone else, don’t worry. But great religious films can wrangle with all the messy complications, can be free to be more art than indoctrination. A lot of the best ones are made by atheists – usually Marxists from Italy. Great religious films are great films that focus thematically on something I care intensely about, and they inevitably mean a lot to me.

But you’re always rolling those dice. Christianity is an extremely loaded thing, and it often seems like reviews are written in code: I’m pretty sure Martin Scorsese’s Silence didn’t get its due because secular audiences didn’t or couldn’t fully engage with it and religious audiences found it uncomfortable, challenging viewing, but then it’s hard to know what the reviews would be like if it really was a dull slog.

So I was excited to see Mary Magdalene, even if the reviews were pretty mixed. I love religious films, and I love unorthodox Gospel retellings, and I’m a feminist, and I’d been looking forward to it for like a year.

It was a disappointment. Here’s why.

Continue reading “Notes on Mary Magdalene”

Notes on Hamlet (2000)

Notes on Hamlet (2000)

This article is part of the Notes on Failure series, which discusses interesting cinematic failures. Previously, notes on Split


Sometimes a film is so set up for me to like it that nothing speaks to its failure like my thinking it’s only okay. It might tick a bunch of boxes of things I reliably enjoy, like Hell or High Water, a neo-western about the Great Recession featuring comedic bank robberies and a great performance from Jeff Bridges, one of my favourite actors. It might be targeted at a very specific niche of which I am a part: Mary Magdalene was described as not appealing to Christians because it’s such a different take on the Gospel story, and not appealing to non-Christians because it’s so religious, but I’m a feminist Christian whose favourite film is The Last Temptation of Christ, king of unorthodox Gospel films. It’s kind of heartbreaking, when a film stacks the deck so in favour of me loving it, as if it was made with me in mind, but fucks it up so badly that I think “it’s basically fine, I guess, I don’t know, it has some problems.”

Hamlet (2000) is one such film. Here’s why.

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Notes on Split

Notes on Split

I went to see Split on my twenty-third birthday, and I was very excited. That was partly because my birthday was the day Donald Trump was inaugurated as President and it was a way to not think about, you know, events. But it was mostly because I am an M. Night Shyamalan apologist, and he was back! I love The Sixth Sense and Unbreakable and The Happening, and after a string of bad decisions, he was resurgent. He’d had a surprise hit on television with Wayward Pines and his previous film, The Visit, had been both well-received and profitable. Now it was time for his redemption story to go mainstream with his biggest success since Signs.

And it did.

Measured by return on investment, Split was Shyamalan’s most profitable movie, turning $9 million into over $250 million, and it received some of the best reviews of his career. It was number one at the US box office for three consecutive weeks (a record in Shyamalan’s filmography matched only by The Sixth Sense), it had a sequel greenlit by April, and James McAvoy is one of the year’s prototypical examples of an actor locked out of the Oscars race by genre rather than merit. M. Night Shyamalan brought his reputation back from the dead with one of the year’s most successful movies.

And I hated it.

Continue reading “Notes on Split”