Irish Film Review: Out of Innocence

DIR/WRI: Danny Hiller • PRO: Paul Cummins • DOP: Seamus Deasy • ED: Geraint Huw Reynolds • DES: Ray Ball • MUS: Colm Mac Con Iomaire, Gary Lightbody • CAST: Fiona Shaw, Alun Armstrong, Judith Roddy, Nick Dunning. Fiona Shaw

 

Sometimes a film will require suspension of disbelief because the fiction is too fantastical, but in this case the truth is undoubtedly more bizarre. Out of Innocence focuses on preconceptions, prejudices, and misogyny, as one woman is about to become infamous throughout the nation when both Church and State combine forces to pillory a family in crisis, forcing an elastic band around your diaphragm as you struggle to draw a breath due to the heavy tension.

Written and directed by Danny Hiller, Out of Innocence is the dramatised story of The Kerry Babies Case in 1984, and therefore understandably emotive viewing. The opening images are of a beach so picturesque that it could only be the West of Ireland, as the waves loll in, laden with tranquility. But everything is about to change, as the body of a newborn baby washes up in a fertilizer bag. Such an unnatural event, powerfully juxtaposed against the beauty of the scenery. This kind of incident simply doesn’t happen in these parts of Ireland, and the local Gardaí are flummoxed by the arrival of the Murder Squad from Dublin. Meanwhile, 80 kilometers away, Sarah, our protagonist, is having an affair with a married man, Paudi, a vacillating excuse for a boyfriend or husband. They already have one child as a result of their affair, and unknown to anyone but him, another is on the way. Blood will simmer as the plot evolves into a case of vilification, when Detective Callaghan (Alun Armstrong) goes above and beyond rational measures in order to prove Sarah Flynn guilty, but instead, all he demonstrates is his unfettered misogyny to the audience. Unshakeable in his resolve and distaste for what he deems to be iniquitous women, his face turns acetous at even the suggestion of women and premarital sex. He not only casts a blind eye to blood evidence, but he manufactures the most unlikely versions of a possible truth, as he’s as fond of fabricating theories as Tom Walsh is of tagging furniture.

In contrast to Callaghan’s bullish-ness, we have the meekness of Catherine Flynn, Sarah’s mother. Fiona Shaw was perfectly cast in the role and provides a measured and terse performance. As a god-fearing countrywoman, she lives for religion and family in the wake of her husband’s death, and all that she believes in is crumbling around her shoulders as she struggles to keep a stiff upper lip. Her desire to return to normality is effectively shown as she persists in routinely tucking hot water bottles into absent beds, despite having just confessed to being a conspirator to murder. But the standout performance is Fionnuala Flaherty (Sarah Flynn), who in her tribulation represents all the women of Ireland in an emotional and reflective manner. Hillen captures a moment of genuine poignancy as the camera focuses deliberately on the Harp that presides over the courtroom. Being synonymous with Ireland, due in part to The Society of United Irishmen, the irony here is that the society’s seal depicts a harp with the mottos “It is now strung and shall be heard”, as well as “Equality”, both of which were completely flouted in Sarah Flynn’s case. Recognition must also be given to Colm Mac Con Iomaire’s score, which pensively and effectively encapsulates the beauty and sorrow of this country, as its history is so inextricably entrenched within the duality of these descriptives.

In this age of documentaries about confessions made under police duress, Out of Innocence puts its own harrowing spin on false truths. Women are persecuted from all aspects; from when Sarah was termed to have an “empty womb” (a negative perspective on simply not being pregnant), to the witch hunt for a woman with a child out of wedlock, and god forbid, one that was involved in an affair with a recreant married man, and eventually to evolve into a murder trial without parameters. Yet there are moments of hope, as the trial gathers an indomitable crowd of both female and male supporters, infuriating the prosecuting side, but also unfortunately the judge. As Detective Armstrong combs the strand in the hopes of finding another dead baby at the hands of our protagonist, we realise that although progression has been made, it doesn’t necessarily mean that we are completely through the other side. There is a long road ahead of us yet, one for which the foundations have been laid, but we must also continue to persevere with forging the path. Otherwise there but for the grace of Church and State go we.

Jemma Strain

www.ruledlines.com 

108 minutes

15A 

Out of Innocence is released 12th April 2019

 

 

 

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Review of Irish Film @ Cork Film Festival: Out of Innocence

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Rebecca Graham praises Out of Innocence for bringing thoughtful sensitivity to a difficult moment in Irish history which resonates to this day.

Situated in a deconsecrated church, Triskel Arts Centre is an appropriate setting for the sold-out screening of Danny Hiller’s timely new film, Out of Innocence. Hiller’s second feature film is based on the infamous Kerry babies scandal of 1984 in which a prejudicial Garda investigation led to the wrongful arrest of a young woman, Joanna Hayes, for the murders of two babies. Intensive media scrutiny of the case led to a tribunal which judged the Gardaí to have carried out a deplorably inadequate investigation and revealed Ireland’s damaging and limiting attitudes to women’s sexual and reproductive rights.

In Out of Innocence, the protagonist, Sarah Flynn, lives on a farm with her family in Co Kerry. Sarah is having an affair with a married man, Páidí, and together they have a daughter, Una. Sarah is pregnant again but hides this fact until she goes into an early labour. One of the film’s most powerful and lasting images is the solitary figure of Sarah, hunched over in agony among the haystacks in a barn on a cold, dark night. The next scene is of Sarah coming into the kitchen in the early hours of the morning, her long white nightdress covered in blood, being met by her mother’s stern and fearful expression. In the elliptical and stuttering conversations that follow, the family learns that Sarah has lost her baby.

In 1983 a referendum was held to include an amendment to the Irish constitution to acknowledge the equal right to life of the unborn as that of the mother, confirming Ireland’s anti-abortion stance. Early in the film, while the family are at mass, the priest reminds the congregation of the joyous passing of the eighth amendment into the constitution, highlighting the conservative and prudish influence of the Catholic Church on this rural community.

Out of Innocence opens with a shot of the majestic and beautiful Atlantic Ocean and the sounds of waves crashing against the rocky shore. This peaceful vista is soon shattered by the discovery of the body of a baby washed up on the beach. The Gardaí arrive and unceremoniously place the baby in a cardboard box, an unprofessional and uncaring gesture which sums up the attitudes of the Gardaí throughout the film. This sets off an investigation which inevitably leads to Sarah, who has recently been admitted to Tralee General Hospital suffering from the effects of a suspected miscarriage.

In the Q &A after the screening, Hiller said his research into Ireland’s recent past led him to a number of similarly tragic stories about young women and he wanted to uncover those women’s voices. The many lingering camera shots of statues of the Virgin Mary are a stark reminder of the devastating case of Ann Lovett, a fifteen-year-old girl who, on a cold day in January 1984, gave birth to a baby boy at a grotto dedicated to the Virgin Mary. Passers-by found Ann haemorrhaging badly and her baby boy was dead beside her. Ann died later that day. Her local community refused to comment on the reasons that might have led Ann to give birth secretly in such a place. Mary, the virginal mother who silently and stoically conforms to the will of God, epitomises ideals of womanhood women were expected to embody in a country where the machinations of state were inextricably intertwined with the morality of the Catholic Church. Discussing the events which inspired the film in an interview with The Sunday Times, Fiona Shaw said: “There were other tragedies it bumped into, so it was a stream of sorrows at that time in relation to women’s bodies. And the fact that’s still an issue in Ireland is very sad.” (13th Nov ’16). This film is a timely intervention into current debates about the eighth amendment, with many feminist and human rights groups calling on the government to address the contentious Irish legislation on abortion.

Out of Innocence gives voice to the young women who have been abused and ostracised by the Catholic Church and the Irish state in its empathetic portrayal of Sarah and her family. The scenes in the Garda station are perfectly balanced to maintain a sense of realism while showing the increasingly forceful and coercive efforts of the investigators to extract confessions from the Flynn family. The skillful camera angles show the investigators, cast in shadows, ominous, omniscient figures, looming over the Flynns, taunting and terrifying the confused and scared family. The Gardaí isolate the family members, twist their words, lie and make threats, until each one in turn believes their only option is to confess to murder.

The makers of Out of Innocence should be commended for bringing thoughtful sensitivity to this important film about a difficult moment in Irish history which resonates to this day. Colm Mac Con Iomaire’s music deserves a special mention. It is powerful and poignant, enhancing the beautiful scenes of Ireland’s rural and coastal landscapes, and underscoring the fraught and turbulent emotional struggles of the film’s central characters. Fiona Shaw is flawless as the devastated, stoic, God-fearing mother who only ever wants to do and say the right thing. Alun Armstrong is convincing as the cold but determined Detective Callaghan. However, it is Fionnuala Flaherty’s measured performance that encompasses the film’s emotional heart. Her subtle and sophisticated portrayal of Sarah inspires deep empathy and compassion for all women who have suffered and still suffer at the hands of the Irish state. Sarah’s Aunt Patsy, complaining about the temperature in their small cottage, neatly sums up the attitudes that women have faced and continue to face in Irish society: “It’s so cold here. It’s always so cold here.”

 

Out of Innocence screened on 13th November at the Cork Film Festival 2016

 

The Cork Film Festival 2016 runs 11 – 20 November

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