Jack O’Dwyer gets caught up in the fractured narrative of Pat Murphy’s seminal Irish film Maeve, which screened at this year’s Cork Film Festival.
In an attempt to describe her state of mind as an artist during the appalling years of the Irish troubles, feminist filmmaker Pat Murphy has posited that the North suffered primarily from everyone trying to shoehorn it to fit snugly into their own system of beliefs. This is a clear starting point in an analysis of her seminal 1981 film Maeve, co-directed with John Davies, which depicts the problematic ways in which personal and political beliefs can coexist within a troubled nation, often leading to layers of conflict which act as further barriers to peaceful resolution. At its core the film portrays a sort of uprising through inaction, a tentative method by which an individual may behave if they feel that they are excluded from the promised land which lays at the end of the revolutionary road. Through its radical aesthetics and characterisation, the film offers a unique perspective on one of the darkest periods in the island’s turbulent history.
The driving force of Murphy’s film is the titular Maeve, seen in both present day 1981 and also in recurring flashbacks to unspecified times in the past. In the present day, she returns home to Belfast from bohemian London, fully embodying the stringent lifestyle of a feminist ideologue. In the past, with these nascent ideals starting to take shape in her mind, she is seen as a young adult who vows to escape from the hostile community which stifles her. Maeve, played with skilful restraint by Mary Jackson, is often a difficult character for the audience to relate to, likely a reflection of Murphy’s acknowledged debt to Bertolt Brecht and the so-called ‘’distancing effect’’ which he utilized in his theatre. Much of her dialogue is heady and intellectual, delivered as a series of feminist mantras which refer to metaphysical ‘’Woman’’ rather than earthly, anecdotal ‘’women’’. Traditional womanhood, devout Catholicism, revolutionary insurrection; Maeve chooses to shun all of these potential paths in an effort to gain her own autonomy and identity. In one scene, Maeve and her schoolmates are being forced to rote-learn a religious commemoration to the victims of the local conflict. Maeve instead stares out the window, demonstrating a conscious decision to shun the milieu in which her peers are enmeshed.
Acting as a traditional counterpoint to Maeve’s personal protest is her sister, Roisin, played by Brid Brennan. One masterful aspect of Murphy’s screenplay is the heightened importance placed upon storytelling, particularly in relation to how it enlightens the characters who take up the role of storyteller. Roisin tells a number of stories throughout the film, usually depicting some form of tyranny inflicted upon the population by the armed British guards who patrol the streets. One such story implies that Roisin and her friend were the victims of an attempted rape by an intruding soldier, but the nonchalance and humour with which it is told does little to convey the potential severity of the situation. Moments such as these subtly paint Roisin as a character who is caught in the flux, unwilling to critically examine her role as a traditional, oppressed, catholic woman. Despite her sister’s warning that marriage ‘’only keeps woman down’’, there is never the suggestion that she will follow in Maeve’s non-committal footsteps. Even further alienated from Maeve is their mother, Eileen, played by Trudy Kelly. A quiet well of frustration with little dialogue in the film, she is a helpless bystander to the rampaging tide of patriarchal nationalism in her nation, serving as the outdated archetype to which Maeve internally revolts. Perhaps the film’s most emotional scene takes place in a room filled with religious relics, designed by Eileen as a place devoted to her daughter’s future courting. Such a traditional fantasy comes off as absurd given the nature of Maeve’s character, with the scene soon devolving into a heart-breaking monologue from mother to daughter recounting the first time that Maeve boarded the plane as she left to London – ‘’You never looked back once to say goodbye’’. Tragically, this marks the only point in the film at which Eileen is given an extended opportunity to speak, with each word driving a further nail into the coffin that is their incompatible relationship.
The most articulate challenger to Maeve’s unique vision of nationalism comes in the form of her boyfriend/ex-boyfriend, Liam, played by John Keegan. Murphy has expressed the importance within feminist fiction of creating authentic, coherent male characters so as to create an equal playing field of debate. In this regard, the character of Liam is a triumph. A committed republican, he matches Maeve both in the strength of his personal convictions and the fierceness of his debate. The film’s philosophical assertions are founded upon a masterful series of scenes in which the two debate each other in various locations, their rival viewpoints clashing together in a captivating stream of insights and insults. Murphy’s idea for these scenes was that the two would cease to be characters for the duration of these debates, instead transforming into unfiltered mouthpieces for their espoused ideologies; a clear admission of her Brechtian and Godardian influences. The first of their debates happens upon Cave Hill, as they gaze upon a deceptively serene-looking Belfast in the distance. Maeve is first triggered into stating her defiant viewpoint as a response to Liam’s praise of lifelong nationalists, those passionate men who have ‘’been able to keep that image together through all the madness’’. Her issue lies in the fact that the romantic image of Ireland which has guided nationalism thus far excludes her as a woman, it leaves no space for her, she is ‘’remembered out of existence’’ as part of its clause. Next, in her rented apartment in London, Maeve speaks of her decision to ‘’withdraw from it’’, to distance herself from the ‘’country’s neuroses’’. To this, an apoplectic Liam castigates the cowardliness of her actions, pointing to the fact that those who have fought and died for the cause have not had the luxury of her aloofness and free speech, warning that ‘’you’re going to have to come back’’. Virtually every line of their gripping debates could and should be isolated and unpacked by viewers of the film; rarely has such a testament to the efficacy of the Socratic method appeared on screen. Their intellectual sparring culminates near the film’s end as they saunter gloomily through Clifton Street Cemetery, mutually accusing each other of copping out of their ideals. At the argument’s climax, Maeve compares Britain’s treatment of Ireland to man’s treatment of woman, warning that, if Liam and his counterparts should someday be successful in their struggles, then women will ‘’recognize you as the next stage in their struggle’’. In a film which thrives upon exploring the intersection between nationalism and feminism, this stands as perhaps its most radical political expression.
The film’s challenging subject matter is reflected in the austere visual style which Murphy and director of photography Robert Smith choose to adopt. Considering that the film is set in an environment which features constant, often unexpected intrusions into the daily life of Belfast’s citizens, the cagey 4:3 aspect ratio feels suitably oppressive when viewed on a large screen, as if the characters must struggle in order to escape beyond the borders of the frame. This is further enhanced by the usage of a number of internal framing devices, often doorways, which further squash the characters in to fit their surroundings. During the tense night-time scenes, the camera creeps behind characters or flits about from left to right, suggestive of the widespread paranoia which haunts the streets. Maeve’s increasingly disillusioned father, Martin, played by Mark Mulholland, returns in a series of scenes throughout the film during which he generally tells a story involving the local population, and these are among the film’s most intriguing moments from a visual perspective. In the first such instance, the camera suddenly wheels around to Martin as he interrupts his wife during a story, and frames him in the middle of the boxy screen staring directly into the camera as he completes a long, thickly-accented monologue. These scenes which feature Martin staring into the camera increasingly come to feel as if he is breaking the fourth wall and addressing the audience directly. The subtle increase in intensity each time this occurs reinforces a sense of desperation and fear which has creeped into his character, culminating in the heart-breaking, quietly fearful words which he tells himself at the film’s closure. The film therefore arises from the lineage of European modernist cinema not only in its bold subject matter, but also in the way it creatively manipulates the filmic tools to give rise to new modes of artistic expression.
Maeve is comparable to Seamus Heaney’s famous ‘’bog poems’’ in the sense that it holds an abstract mirror up to this unspeakable Irish tragedy in a way which seems to shed cognitive and emotional light upon the subject without offering any form of trite solution to what is an endlessly thorny situation. The film is a whirlpool of ideas, of narratives, of memories, described by Murphy as a ‘’political document rather than a film’’. It feels like a political document not only during the war of words and ideologies at its core, but also in its harrowing evocation of a city where children play in the presence of armed soldiers, and searchlights cut through the dark streets like knives. One of the nation’s finest films, Maeve is a brave, important film, whose intellectual honesty and defiant spirit ought to inspire generations of Irish filmmakers.
Maeve screened on Thursday, 15th November 2018 as part of the Cork Film Festival (9 – 18 November)
Pingback: Pat Murphy’s Maeve and the Phenomenon of Rediscovery – Connor Hess on Film