The Last Right is a comedy-drama road movie telling the story of a man bringing the body of someone he barely knows for burial with his family. His good intentions are motivated by trying to patch up his relationship with his own brother. However, en route from West Cork to Rathlin Island, both romance and family secrets emerge to complicate the trip.
In this podcast Gemma Creagh talks to writer/director Aoife Crehan about her debut feature and guides us through the development process.
The Last Right is released in cinemas 6th December 2019.
DIR/WRI: Aoife Crehan • DOP: Shane F. Kelly • DES: Alex Holmes • PRO: Pippa Cross, Paul Donovan, Casey Herbert • MUS: Gary Lightbody • DES: Neill Treacy • CAST: Brian Cox, Michiel Huisman, Colm Meaney
The Last Right involves two disparate passengers sat beside each other on a flight to Ireland who subsequently become connected by a shared surname and grief. Daniel Murphy is flying home for his mother’s funeral and Padraig Murphy is returning for his brother’s funeral. The latter is his brother’s only next of kin, and when Padraig passes away on the flight, it’s assumed Daniel is of the same Murphy family and the responsibilities for Padraig and his brother’s funerals fall upon Daniel. With his younger autistic brother Louis and his friend Mary in tow, Daniel embarks upon a reluctant road trip to bury Padraig and his brother together, despite a misunderstanding embroiling them in a police chase.
Aoife Crehan’s directorial debut is an impressive study on grief and isolation. Daniel (Michiel Huisman) and Padraig (Jim Norton) cross paths due to their respective losses within their families and their isolation stems from choice and circumstance. Daniel lives abroad whilst Padraig lost contact with his brother. Daniel has a fractured relationship with Louis (Samuel Bottomley) and wants to uproot Louis from Clonakilty to an autistic-focused boarding school in New York. The tension within their new family dynamic is eased with Mary’s (Niamh Algar) presence and in her encouragement of a road trip in bringing Padraig’s budgie-adorned cardboard coffin to the very north of Ireland to his intended resting place.
Niamh Algar is experiencing a stellar 2019 with remarkable performances in Shane Meadows’s The Virtues and Desiree Akhavan’s The Bisexual; displaying multifaceted characterisations in both. In The Last Right, Algar’s Mary is crucial in deflecting tension between Daniel and Louis and in burying Padraig alongside his brother. According to Mary, the relationship between Daniel and Louis “is more Eastenders than Rain Man”, and she offers levity despite her own vulnerabilities masked by her cheery exterior. Huisman is also adept in performing a character maintaining face despite numerous personal challenges. Bottomley impressively manages to portray both the subtleties of Louis’s autism and his emotionally-charged difficulties.
Colm Meaney also appears as Detective Crowley who attempts to prevent Daniel from burying Padraig due to a mix-up as a result of Louis refusing to inform Daniel he was relieved from his duties as Padraig’s surrogate next of kin. Meaney is essentially reprising his character from Intermission in an alternate universe and he offers lighter tonal elements to the narrative. He’s then involved in an enjoyable sequence with the road trippers via a phone-in to The Joe Duffy Show in an attempt to negotiate with the runaway coffin ‘thieves’.
The lighter tonal moments are necessary but at times the film doesn’t know what film it’s striving to become with them and some sequences are also almost too stage play-esque. It could be an Intermission-type film with its lighter moments but Crehan does, however, manage to create a cohesive tonal blend much like 2014’s Calvary. The cinematography is effective at capturing a rugged coastline/island aesthetic that works in tandem with the theme of isolation and grief. The isolation applies to Louis and his autism but Crehan succeeds in conveying that he is not unique in being an alienated character and he experiences similar emotions to those around him. For Mary, she appears strong and confident, but she’s in a professional and personal rut, much like Daniel, who struggles to involve Louis in his own life.
Overall, The Last Right is a thoughtful approach to grief and isolation with sadness and humour that will ultimately offer hope for its characters. It’s an unexpected road trip full of heartbreak, humour and human kindness. Aoife Crehan has helmed a film that will make you eager to see what she creates next.
Kimberly Reyes checks in on new Irish comedy-drama The Last Right, Aoife Crehan’s feature debut, which premiered at the Cork Film Festival.
There are many reasons why one should not strike up a conversation with a nosey stranger on a long-haul flight. One of them would be ending up with an unwanted corpse to unload. This is the premise of newcomer Aoife Crehan’s comedy drama The Last Right. The film, written and directed by Crehan, plays on the tragedies of each of its character to create a humorous and absurd journey.
Dutch actor Michiel Huisman has a fresh and alluring onscreen presence as Daniel Murphy, the film’s protagonist, an American who must come back ‘home,’ to Ireland, to deal with some unfinished business. Samuel Bottomley’s performance as the autistic teen Lois (Daniel’s main business) is even more affecting.
But if you’ve seen Weekend at Bernie’s, Rain Man and The Legend of Billie Jean, you’ve kind of seen this film already, sans Irish accents and countryside. At points The Last Right is derivative enough to be parody: there’s a scene in which Daniel chases Lois in the rain as Lois runs out of the moving vehicle because he doesn’t feel safe. I sure hope Tom Cruise and Dustin Hoffman signed off on the tribute. But this scripting of autism doesn’t feel as tight and nuanced as it did in 1988 when Rainman was released, even if Hoffman’s character only represented a small percentage of autistics, as Lois oddly mentions in this film.
And then there is the tired rom-com trope of a bad boy who keeps messing up after he reveals his dirty secret, which would lead many women to flee, but not his loyal, good-girl, manic pixie dream girl Mary (played by Niamh Algar). This setup is as old as the aforementioned movies the film “borrows” from, and it’s difficult to watch a woman earn a spot in a complicated man’s heart through enduring his meanness in this political climate. Having said that, the onscreen chemistry between Huisman and Algar is palpable.
The movie shines when it centres on its characters’ lives in Ireland that could only take place in Ireland: a hilarious scene in a chipper, and relatable stories of Irish angst and youth (told as plot-tying reflection that could have been better served as flashback), and of course the stunning scenery of their journey from Clonakilty to Rathlin Island. And the journey’s pacing is entertaining most of the way through but making comedy out of tragedy is an Irish specialty that shouldn’t need to borrow any Americanness.
The Last Right screened on Thursday, 14th November as part of the 2019 Cork Film Festival (7 – 17 November).
The Last Right is released in Irish cinemas on 6th December 2019.
Starring Michiel Huisman, Niamh Algar, Samuel Bottomley, Eleanor O’Brien, Colm Meaney, Brian Cox
Directed by Aoife Crehan
New York-based DANIEL MURPHY wakes on a flight home to Ireland for his Mum’s funeral to find elderly passenger PADRAIG MURPHY has died in the next seat. To his surprise the lonely Padraig had just listed him as his next of kin.
In a bid to persuade his autistic brother LOUIS to return to New York with him, Daniel agrees to drive Padraig’s remains across the length of Ireland, from Cork to Rathlin Island, to be buried with his brother. Hitching a ride in the passenger seat is the funeral home temp MARY, who is on a mission to correct a drunken mistake. Meanwhile, the police realise Daniel has no business driving off with Padraig’s body, and Daniel, Mary and Louis find themselves the focus of a nationwide manhunt.
As they cross the country and the border, sparks ignite between Mary and Daniel. But when a long-buried family secret endangers the fragile truce between the brothers, Mary finds herself caught in the crossfire.
With its uniquely Irish sense of humour, this is a heart-warming and bittersweet comedy drama about family and finding home.