"Go. Go now. Don't look back. I love you, son." Granny (Judi Dench)
You can complain that Kenneth Branagh his filtered his 9-year-old Buddy (Jude Hill) through his own rose-colored revery of the 1969 bloody ethno-nationalist uprising in Belfast, and you'd be right. However, like all of us remembering, that past is most pleasantly remembered through the lens of loving family struggle that binds.
While Branagh doesn't shy away from how the Northern Ireland Troubles between Protestants and Catholics was challenging all families, his endearing portrait of Buddy as a curious and sweet, albeit precocious, school boy for whom the biggest conflicts are figuring out how not to emigrate from Belfast because of the violence and connecting with the elusive little blonde who occupies the top of her class with Buddy.
One of the best movies of the year, Belfast gives scant references to Branagh's eventual rise to the top of his filmmaking class and emphasizes the effect a loving family can have on a small-town lad. Especially nostalgic is his interaction with his Granny (Judi Dench) and Pop (Ciaran Hinds), who best represent the benign Belfast world, the one so difficult to leave behind.
Branagh brilliantly chooses a sharp black and white for most of the film, as if to say, "Unlike the color opening, my story will be realistic in a cinematic sense that black and white usually represented in mid-20th century films." Adding a bunch of bad-boy Van Morrison tunes is a perfect surround-sound for the contradictions of Buddy's coming of age in a civil war that is both secular and religious.
The joy of this film is the 9-year-old's warm, nostalgic remembrance of a war-torn land. Belfast confirms the suspicion that those of us lucky enough to grow up in a loving family can survive war and even coronaviruses and become world-renowned filmmakers.
Belfast is one of Kenneth Branagh's best films, and that is saying much.
You can complain that Kenneth Branagh his filtered his 9-year-old Buddy (Jude Hill) through his own rose-colored revery of the 1969 bloody ethno-nationalist uprising in Belfast, and you'd be right. However, like all of us remembering, that past is most pleasantly remembered through the lens of loving family struggle that binds.
While Branagh doesn't shy away from how the Northern Ireland Troubles between Protestants and Catholics was challenging all families, his endearing portrait of Buddy as a curious and sweet, albeit precocious, school boy for whom the biggest conflicts are figuring out how not to emigrate from Belfast because of the violence and connecting with the elusive little blonde who occupies the top of her class with Buddy.
One of the best movies of the year, Belfast gives scant references to Branagh's eventual rise to the top of his filmmaking class and emphasizes the effect a loving family can have on a small-town lad. Especially nostalgic is his interaction with his Granny (Judi Dench) and Pop (Ciaran Hinds), who best represent the benign Belfast world, the one so difficult to leave behind.
Branagh brilliantly chooses a sharp black and white for most of the film, as if to say, "Unlike the color opening, my story will be realistic in a cinematic sense that black and white usually represented in mid-20th century films." Adding a bunch of bad-boy Van Morrison tunes is a perfect surround-sound for the contradictions of Buddy's coming of age in a civil war that is both secular and religious.
The joy of this film is the 9-year-old's warm, nostalgic remembrance of a war-torn land. Belfast confirms the suspicion that those of us lucky enough to grow up in a loving family can survive war and even coronaviruses and become world-renowned filmmakers.
Belfast is one of Kenneth Branagh's best films, and that is saying much.