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A painter who finds success (and true love) after a pickpocket steals one of his works, gives it a false authorship and promotes the imaginary artist to instant success so he can cash in on his ill-gotten gains.
Set in 1967 in New York City's Public Morals Division, where cops walk the line between morality and criminality as the temptations that comes from dealing with all kinds of vice can get the better of them.
This angst-filled tale of three Irish-Catholic brothers explores men's relationships with women. Three different situations are set up on parallel plotlines, with each brother facing a different kind of crisis. Their common bond as family, as well as close lifelong friends, allows them to express their feelings frankly and intimately, as they talk and discuss their concerns among each other. Jack finds himself in a marriage gone stale and under pressure to start a family that he does not yet feel ready for. Barry, dedicated to his film career and almost pathologically averse to any type of commitment in a relationship, is suddenly artistically successful and finds true love, both for the first time and both pulling him in opposite directions. Patrick is torn between his love for his religion and ethnic heritage and his love for Susan, his longtime Jewish girlfriend. Ultimately, they are all asked to resist temptation of one sort or another, with various poignant outcomes. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Seamus Egan, who composed much of the music on the soundtrack, was on a tour of New England when his car broke down. He was put up for the night by a local couple he had never met, whose adult son happened to be visiting for the weekend. They loaned Seamus their own car so he could finish the tour. In gratitude, Seamus (and bluegrass musician Dirk Powell) gave them copies of their CDs, they only gift they could afford at the time. The son turned out to be Andy Yarme, a technician working on the film in New York. The CDs found their way to Ed Burns, who in turn called Seamus and asked if he could use some of the music on the film. After the film was picked up by Sundance, the music was remastered, and due to the increased budget, Sarah McLachlan was brought on board. Together, they re-wrote Seamus' instrumental "Weep Not For the Memories", creating the hit "I Will Remember You". McLachlan's video for the song following its release as a single cost three times to make as the entire Brothers McMullen production. See more »
Patrick's hair in the first front-stoop conversation. See more »
Irish brothers have to confront their Catholic consciences...
EDWARD BURNS is the writer/producer/director/actor of this charming piece of casual film-making on a shoestring budget that he turned out twelve years ago, obviously based on characters he cares about and knows intimately. It has the intimate immediacy of MARTY, another such tale about a lonely Brooklyn butcher looking for true love and the right marriage prospect to end his bachelor days.
In THE BROTHERS McMULLEN we have MARTY compounded by three--namely, the Irish brothers on Long Island who seem to indulge in endless dialog about life, love and the pursuit of happiness while sipping their favorite beers, each involved in a troublesome relationship that has them questioning their inner conflicts born by a Catholic conscience.
It's not exactly up to the Woody Allen standard of such tales, but the dialog is fresh enough and natural, the modest settings are appropriate for the story and the jaunty Irish music on the soundtrack does its job.
Nothing complex here. Just a warm, engaging, occasionally funny tale of average guys struggling with their fixed ideas of moral values, each unable to come to terms with inner conflicts--and two of them simply unable to make commitments to the women they love.
The film is really carried by the three brothers: EDWARD BURNS as the one least able to commit, and JACK MULCAHY and MIKE McGLONE as his troubled siblings.
Summing up: Nothing really special, but it did win a couple of awards at film festivals.
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