'Lamb' is the story of an ill-considered dream, told with a very particular flavor. It's rough around the edges, but engrossing for the story it has to impart, a bit intriguing given the very early roles of the cast - and far more dark than the premise lets on.
Early scenes provide sufficient exposition to establish the characters and their motivation. Michael Lamb is a priest flailing in his faith, especially in light of the cruelty and abuse of power he sees at the reform school where he works. Owen, a young boy of 10 prone to seizures, is dumped at the school by his decidedly unloving mother, and there suffers the wrath of schoolmate and schoolmaster alike.
The plot begins in earnest as the two of them, equally ill at odds in their surroundings, abscond together with hopes of something better. Yet neither are truly prepared for what that entails, and every step feels like a disaster waiting to happen. It's hard not to feel a little on edge with every passing scene as Michael and Owen's circumstances grow increasingly difficult.
'Lamb' is very notable as the film debut of Hugh O'Conor, only 10 years old when it was released. Even at such a tender age, he demonstrated a force of personality befitting such a troubled youth. He is a fine scene partner with costar Liam Neeson, appearing here in an early film role. Neeson bears a slightly less gritty version of the gravity and pensiveness that he's become known for in the latter half of his career, but Michael very much fits the character of roles he's taken on since. Ian Bannen, in an early supporting part, carries an especially despicable smarm about him as repugnant headmaster Brother Benedict.
The acting is quite good, and the technical craft of the film is suitable. The real substance of 'Lamb' is in the narrative, with the screenplay adapted by Bernard MacLaverty from his own novel. We feel like vicarious Cassandras, knowing that disaster is coming, and Michael himself is increasingly aware the ride dream won't last long. For all the rapport that Michael and Owen share, scenes of their bond are gratifying, yet it's an idealist venture that they embark on. Their efforts to continue on grow more breathtakingly dire until at last the climax and finale arrives with an even gloomier, more intense outcome than we had come to anticipate. It's a fine ending, as written, but I don't think it's unreasonable to say that for the conclusion, 'Lamb' may actually be the darkest of all Neeson's films.
Just as the greatest asset of the movie is its story, its greatest weakness is in how the story is presented. The narrative flow is cohesive, but not totally solid. Michael and Owen's departure from the reform school isn't treated with much care, happening as quickly and nonchalantly in the feature as I'm typing these words. The cumulative factors that result in the ultimate outcome make rational sense as story beats and motivational considerations, and moments throughout the film emphasize those beats - if somewhat half-heartedly. Yet the key to that grouping of elements is in a line of dialogue that is spoken so fast and casually that it's easy to miss, and with or without it, the climactic capstone is rendered with less profundity than it should meaningfully broadcast.
While uneven, 'Lamb' is an enjoyable and suitably engrossing movie. It's especially worthwhile for fans of the cast. The content may not find favor with those who have special concern for how children are treated in fiction; even for those without such specific concerns, this remains rather difficult. Still, for those willing, it's a deserving viewing experience, and worth seeking out for the imperfect strength of its narrative.
Early scenes provide sufficient exposition to establish the characters and their motivation. Michael Lamb is a priest flailing in his faith, especially in light of the cruelty and abuse of power he sees at the reform school where he works. Owen, a young boy of 10 prone to seizures, is dumped at the school by his decidedly unloving mother, and there suffers the wrath of schoolmate and schoolmaster alike.
The plot begins in earnest as the two of them, equally ill at odds in their surroundings, abscond together with hopes of something better. Yet neither are truly prepared for what that entails, and every step feels like a disaster waiting to happen. It's hard not to feel a little on edge with every passing scene as Michael and Owen's circumstances grow increasingly difficult.
'Lamb' is very notable as the film debut of Hugh O'Conor, only 10 years old when it was released. Even at such a tender age, he demonstrated a force of personality befitting such a troubled youth. He is a fine scene partner with costar Liam Neeson, appearing here in an early film role. Neeson bears a slightly less gritty version of the gravity and pensiveness that he's become known for in the latter half of his career, but Michael very much fits the character of roles he's taken on since. Ian Bannen, in an early supporting part, carries an especially despicable smarm about him as repugnant headmaster Brother Benedict.
The acting is quite good, and the technical craft of the film is suitable. The real substance of 'Lamb' is in the narrative, with the screenplay adapted by Bernard MacLaverty from his own novel. We feel like vicarious Cassandras, knowing that disaster is coming, and Michael himself is increasingly aware the ride dream won't last long. For all the rapport that Michael and Owen share, scenes of their bond are gratifying, yet it's an idealist venture that they embark on. Their efforts to continue on grow more breathtakingly dire until at last the climax and finale arrives with an even gloomier, more intense outcome than we had come to anticipate. It's a fine ending, as written, but I don't think it's unreasonable to say that for the conclusion, 'Lamb' may actually be the darkest of all Neeson's films.
Just as the greatest asset of the movie is its story, its greatest weakness is in how the story is presented. The narrative flow is cohesive, but not totally solid. Michael and Owen's departure from the reform school isn't treated with much care, happening as quickly and nonchalantly in the feature as I'm typing these words. The cumulative factors that result in the ultimate outcome make rational sense as story beats and motivational considerations, and moments throughout the film emphasize those beats - if somewhat half-heartedly. Yet the key to that grouping of elements is in a line of dialogue that is spoken so fast and casually that it's easy to miss, and with or without it, the climactic capstone is rendered with less profundity than it should meaningfully broadcast.
While uneven, 'Lamb' is an enjoyable and suitably engrossing movie. It's especially worthwhile for fans of the cast. The content may not find favor with those who have special concern for how children are treated in fiction; even for those without such specific concerns, this remains rather difficult. Still, for those willing, it's a deserving viewing experience, and worth seeking out for the imperfect strength of its narrative.