How Zara Devlin denied extraordinary flourish choice With fallout of monstrous demon?
Coming from Cillian Murphy, it would be fair to think he was talking about his Oscar-winning turn as the father of the atom bomb in last year’s Best Picture recipient, “Oppenheimer,” which wove back and forth through time as the scientist copes with the fallout of his monstrous creation. Instead, Murphy was talking about a character that hits a little closer to home for him, albeit in ways that may, surprisingly, draw comparison with his previous performance.
Set in Murphy’s native Ireland, in the small town of New Ross circa Christmas 1985, “Small Things Like These” revolves around Bill Furlong (Murphy), a coal distributor, husband, father of five daughters, and well-respected community member. Until Bill makes a discovery at the local convent that unearths deeply buried personal trauma and forces him to consider whether it’s even worth being respected by a community that would allow such pain and silence to persist.
“There is a question of morality, right? And culpability. ‘How can I as a man continue on with this knowledge, this kind of immutable knowledge?’” Murphy told IndieWire, during a recent interview, about comparing Bill with J. Robert Oppenheimer. “What do I do with it? Where do I put that? Where does it go? You can see in both cases, how it happens, what effect it has on the person.”
For Bill, the knowledge isn’t that of quantum worlds or technological instruments of mass death, but that of the Catholic Church and its hold on the Irish people. Specifically, Bill becomes increasingly aware of young girls being held and abused by the nuns of his convent, led by a sinister mother superior, Sister Mary (played with dark-eyed, cold-hearted terror by Emily Watson). The story, adapted by Enda Walsh from Claire Keegan’s 2021 novella of the same name, places a human narrative on the stain of Ireland’s Magdalene Laundries.
“It’s a bit of a reckoning in Ireland, still coming to terms with everything that happened because the last one closed in ‘96. We’re all still struggling, I think, to figure out our response to it,” said Murphy. “There’s been all sorts of commissions and reports and academic papers and all sorts of things, but I think this book and this film, hopefully, it’s a gentler way of looking at it. People can look at it through the eyes of these characters and how it affects real human beings.”
In discussing the Catholic Church, Murphy pointed out that, in Ireland, the Church was everywhere. Eventually, around the time he was making Danny Boyle’s 2007 sci-fi thriller “Sunshine,” and when his first son was born, Murphy embraced atheism but still appreciates what religion can offer people under proper circumstances.
“I have no problem with people who have faith, I really don’t. I have a problem when it is imposed upon people. And I have a problem with absolutism,” Murphy told IndieWire. “And I think that was the problem in Ireland for a long time; it was imposed upon the nation. They controlled hospitals and schools. It was written into the constitution. There was no escaping it, and I think it was Joyce who said that Ireland was colonized twice, once by the British and once by the Church.”
The historical drama Small Things Like These is the story of an ordinary man, Bill Furlong (Cillian Murphy), who makes an extraordinary choice in 1980s Ireland. The film is based on the award-winning 2021 novel by Claire Keegan.
“If you want to get on in this life, there’s things you have to ignore.” Eileen Furlong’s (Eileen Walsh) advice to her husband Bill is both familiar and harrowing. Familiar because the instinct of self preservation when faced with power imbalance and injustice is natural to the human condition. Harrowing because giving in to this instinct is what allowed institutions such as Ireland’s Magdalene laundries and their associated human rights abuses to flourish.
Between 1922 and 1996, at least 10,000 women and girls were confined in religious-run detention homes known as Magdalene laundries.Women were sent to these institutions for a variety of reasons. They included having a child outside of wedlock, being referred by a court of law and being a victim of sexual abuse. Detainees of the laundries engaged in forced labour which was used by religious orders as both a “disciplinary process” and a form of violence.
These women lived in a constant state of “emotional and psychological turmoil”. They were often not informed why they were detained in these institutions, or how long they would be there for. One survivor of a Magdalene laundry in New Ross recalled being deliberately locked out on a balcony on a winter’s night by a nun where she almost “died of the cold”. This is just one disturbing example of the various forms of maltreatment experienced by survivors of these institutions. Bill’s discovery of Magdalene detainee Sarah Redmond (Zara Devlin) in a coal shed changes the course of his life, and that of his family.
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