Pig and Runt - born on the same day, in the same hospital, moments apart. Twins, all but by blood. Inseparable from birth, they are almost telepathic. They are also partners in crime, with ...
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Pig and Runt - born on the same day, in the same hospital, moments apart. Twins, all but by blood. Inseparable from birth, they are almost telepathic. They are also partners in crime, with an appetite for recklessness, exploration and destruction. But days before their 17th birthday the perfect balance of their world begins to shift. Pig's sexual awakening and increasing jealousy begins to threaten the private universe they have spent their lives constructing. Unable to contemplate the loss of Runt, Pig's unpredictable nature spirals out of control in a trail of violence. The invisible thread between them is stretched to breaking point, the inseparable are about to separate, and which one will survive depends on which one can break free.Written by
The second song played during the credits called "So New" was written and performed by Cillian Murphy, who played Pig. See more »
During the flashback to Sinéad being spanked by her father Ger Canning can be heard commentating on a hurling game between Cork and Kilkenny, mentioning the names of DJ Carey, Henry Shefflin, Charlie Carter and Diarmuid O' Sullivan, who would only played with and against each other in 1999 at the earliest. The flashback was obviously intended to have been set long before then. See more »
Once upon a time, before there was any blue, I'd take a long long nap in a brand new home. This place, it's like I make up my mind to stay in this lovely warm pink room. The thumpity thump of the heart. My only true path. I tell the noisy world outside to fuck off with all your play-actin', for Runt. She go no where, for no one. That was a time when silence was some sort of friend.
But then my mom would heave and wake all inside. And Runt, she wakes up, cause a baby can't stay still...
[...] See more »
Written by Jeremy Williams, James Goodwin, and Andrew Williams
Performed by Doves
Courtesy of Heavenly Records See more »
Thumbs down, I'm afraid.
Disco Pigs has a wonderful beginning. Our heroine narrates as she escapes from her mother's womb. Her narration is wonderfully bitter about coming into the dreaded world. The images are startlingly original; the babies large eyes comparable with the end of 2001: A Space Odyssey. We meet the baby's mother and father who, we're told, will never be as happy as they are at that moment. Then the baby is laid to rest. It starts to cry but stops when it sees a crying baby next to it. The neighbouring baby stops crying. The infants stare at each other, put their hands out and hold hands. I don't know how this scene was achieved. I can imagine recently born babies aren't easy to direct. What I do know is that this is a remarkably effective opening. One of the best and most original I've seen.
Unfortunately, the remainder of the film is not so great. It tries hard and its young director clearly adores the source material but it is this material that's the problem. There's very little new here. And the characters often let themselves down with strange shifts in their traits. For example, the bitter narration I've just spoken about is conducted by Sinead (Runt), the female lead. She's never as bitter again as she is at the beginning. It's a shame the movie focuses on her character at the start. It should have concentrated its efforts on Pig (played by the remarkable Cillian Murphy). His motivations are far more realised. Runt is a much shadier character and the audience never really understands her. Why does she not take to Pig? Why does she take to the bartender, is it his almost illiteracy or his red jumper? Is she gay? Does she fall in love with her roommate?
Comparisons to A Clockwork Orange or The Butcher Boy are unfair. It doesn't possess the soul of either of these. In fact, the violence here is far more sickening because its so gratuitous. Comparisons to Heavenly Creatures are more apt, but that movie was based on a true story, a trait this movie seems to think it has.
The acting from the leads especially Murphy is very solid, though he has a tendency to mumble. They both have a strong screen presence. The direction from Kirsten Sheridan is inconsistent. The beginning is fantastic and flashback scenes seeing the pair as children are equally remarkable but she chooses cliched editing for the disco scenes and leaves in a soliloquoy which betrays the films stage origins and leaves the audience desperately uncomfortable. Otherwise, she has plenty of potential.
Lastly, Disco Pigs was the first film I've seen that focuses for a large part on my native city. It was wonderful to see and I hope to see more. Sheridan though seems to have missed a few geography lessons. When Pig takes the bus from Cork, the film cuts to him on the bus and back to an establishing shot of a restaurant that's in Cork, he then hitchhikes to Donegal, which is about a five hour drive, then miraculously arrives back in Cork, all in the space of a day. Goofs aplenty.
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