DarkMode/LightMode
Light Mode

The Irish in the Movies

With St. Patrick’s Day upon us, Irish culture will take center stage across America. But what happens when the Irish take center stage in films and TV shows? Are American-made productions staying true to life, or retreating to the usual stereotypes? Recently, on the big and small screens, larger issues such as immigration, urban strife and the search for inspiration have painted an evolving picture of the Irish. But is it a better picture?

Coming to America

Hollywood fosters a curious obsession with the effects that immigration has on the Irish — negative effects, quite often. It’s American cinema: old habits die hard. In The Devil’s Own (1997), Brad Pitt plays a seemingly unassuming immigrant sent to stay with distant relative Harrison Ford. Ford‘s large, prosperous family welcomes the young Irishman with open arms, only to learn he’s a greed-driven terrorist with icy veins. Similarly, in 1994’s Blown Away, Jeff Bridges plays a successful cop in the bomb squad of the Boston Police Department, who is visited by an Irish immigrant he knew years earlier – an immigrant hell-bent on killing Bridges and his family. Even All-American action films such as 1992’s Patriot Games feature their share of belligerent Irish transplants. Harrison Ford (again) must dodge Irish terrorists through the streets of Washington D.C., attempting to protect his family (again) from extremists. No luck of the Irish for Ford, apparently. On the small screen, the Irish aren’t depicted as saints either. HBO’s Oz features at least four Irish characters – two who are convicted killers, one who intends to bomb the entire prison and one who’s a corrupt corrections officer. Are there any recent exceptions to Hollywood’s harsh treatment of Irish immigrants? One stands out: Ron Howard‘s 1992 epic Far and Away, a hopeful tale of two immigrants who seek – and find – prosperity in the frontier lands of 19th-century Oklahoma. Curious, though, that only a period piece, not a modern tale, could portray Irish immigrants in a positive light.

Hardships of the Homeland

Turning the camera on the Emerald Isle itself, Hollywood continues its obsession with modern Irish discord, opting to shed new light on the turmoil that ravages the country. 1993’s In the Name of the Father explores the hatred and political infirmity that breeds in the Irish justice system. When a group of Belfast men are falsely accused of a crime they couldn’t possibly have committed, the courts realize someone must take the fall. As a convicted father and son trudge through prison life, a strong bond develops – a bond more powerful than decades of religious persecution. Familial relations in the face of tragedy also comprise the conflict of the 1999 adaptation of Frank McCourt’s novel Angela’s Ashes. Finally, a film set (primarily) in Ireland offers up a possible cause of the stereotypical alcoholic behavior displayed by the father in the film. Such dependence on booze has long been a major cliché of the Irish. Finally, seeing the pain many Irishmen go through for their former IRA affiliations, the audience understands the need for inner peace, no matter the cost. The Crying Game (1992), however, raised the bar of dramatic complexity higher than any other film set in Ireland. Such issues as the IRA, hostage taking, bisexuality and unexpected loyalty weave through this story of a British prisoner (Forest Whitaker) befriended by his Irish captor (Stephen Rea), and the bizarre relationship that grows from the unlikely pairing. Nominated for the Oscar for Best Picture, the film blends modern codes of love with ancient hatreds. Not a cliché to be found.

Irish Inspiration

Irish filmmakers, however, do see and understand the negativity of recent depictions of their homeland. As a reaction, they’ve released unprecedented number of positive Irish films to cut through the growing pessimism. Dublin has soul, but gets soul music in the 1991 gem The Commitments, a film that merges the music of Motown with Ireland’s urban convolution. Though not a completely lighthearted film, The Commitments, directed by Alan Parker (who also helmed Angela’s Ashes), portrays young Irish adults as optimistic and intensely creative. Extremely fresh – and funny. Inspiration, however, is also found in darker Irish drama. Oscar winner My Left Foot (1989) may be remembered as a bleak slice-of-life film, but this tale of a man (played by Daniel Day-Lewis) battling cerebral palsy is a triumph of spirit, an accomplishment of Irish cinema. Much like The Commitments, My Left Foot explores the much ignored cathartic nature of the Irish – an artistic people – and unearths a rarely seen compassion between mother and son. [PAGEBREAK] Modern Irish filmmakers have also found inspiration by simply going back to their roots. Director Neil Jordan (who also directed The Crying Game) found this to be true when he made Michael Collins (1996), a stirring account of the man, played by Liam Neeson, who successfully fought British rule in the 1920s through the use of guerrilla warfare. It’s Irish patriotism at its proudest.

Comedic Cliches

When it comes to Hollywood’s comedies, though – whether on the big screen or small — old Irish cliches reign supreme. And that’s likely the way things are going to stay. On the big screen, Austin Powers: International Man of Mystery (1997) reigns supreme as the King of Cliches, introducing us to a jumpy character named Patty O’Brien, a former IRA terrorist with bright red hair and a bracelet of “lucky charms.” Very nice. So, the question remains: are the Irish given a bad rap in Hollywood? In comedies, of course, it’s acceptable to go over the top. In drama, however, there’s still progress to be made. Irish-made films are getting it right; American-made films are in need of an emotional – and creative — overhaul.

- Advertisement -

Hollywood.com is highlighting donation opportunities from trusted organizations like The Salvation Army – Southern California Division to support wildfire relief efforts. Donations are made directly to The Salvation Army via their official website, and Hollywood.com does not collect or manage any funds.