6.4/10
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Trojan Eddie (1996)

The story of Eddie, a small town ex-con, who discovers he has talent for selling anything and everything. Eddie sees a way to rise above the low life by setting up on his own. What he ... See full summary »

Director:

Gillies MacKinnon

Writer:

Billy Roche
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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Stephen Rea ... Trojan Eddie
Richard Harris ... John Power
Stuart Townsend ... Dermot
Aislín McGuckin ... Kathleen
Brendan Gleeson ... Ginger
Sean McGinley ... Raymie
Angeline Ball ... Shirley
Angela O'Driscoll Angela O'Driscoll ... Carol
Brid Brennan ... Betty
Jason Gilroy Jason Gilroy ... Patsy McDonagh
Maria McDermottroe Maria McDermottroe ... Rosy
Sean Lawlor ... Gerry
Britta Smith Britta Smith ... Lady Cash
Pat Laffan ... Matt
Jimmy Keogh Jimmy Keogh ... Reg
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Storyline

The story of Eddie, a small town ex-con, who discovers he has talent for selling anything and everything. Eddie sees a way to rise above the low life by setting up on his own. What he didn't bargain for, was the murder and mayhem along the way.

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Romance

Certificate:

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Details

Country:

UK | Ireland

Language:

English

Release Date:

29 August 1997 (USA) See more »

Also Known As:

Trójai Eddie See more »

Filming Locations:

Dublin, Ireland See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR

Color:

Color

Aspect Ratio:

1.78 : 1
See full technical specs »
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Did You Know?

Quotes

Trojan Eddie: You try to come between me and those children and I swear to god...
Shirley: All right, Eddie. Keep it down. I'm not even sure they're both yours, for Christ's sake.
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Soundtracks

Tinker's Lullaby
Written by Pecker Dunne
Performed by Pecker Dunne
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User Reviews

 
television work
11 November 2000 | by mbloxhamSee all my reviews

With such a good cast, it is disconcerting to see the film not quite succeed. Part of the fault lies with the writing, that misses many chances for character development, and simply abandons any pretence of creating a female role. But more subtle is the failure of tone and timing; in both respects the flaws are inherited from TV work. Tarkovsky speaks of film being about time, and this piece is a study in how a casual and episodic realism that grapples with time neither in structure nor in scene can cause a work to drift away from its purpose, and art.

There is, again from television, an ambiguity of intent: the script writer sees a chance to draw a character of some violence; then glimpses the possibility of pathos. In the end we all suffer from a retreat, in which sitcom is next in line.


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