Matthew Briody takes aim at In the Land of Saints and Sinners.
A peaceful village collides with violent criminals in Robert Lorenz’s thrilling contemporary western. In the Land of Saints and Sinners shows the lengths people will go to fight for what they believe in.
Finbar Murphy (Liam Neeson) is a hitman who has grown weary of his violent trade. Hanging up his gun, Finbar attempts to put his life of crime behind him. His retirement is short-lived when he goes out of his way to help a troubled young girl named Moya (Michelle Gleeson). Finbar sees the abuse she is suffering at the hands of an outsider who has blown into the sleepy village of Glencolmcille. Knowing that the law cannot protect this innocent child, Finbar decides to take matters into his own hands. This puts him on a collision course with a group of IRA members hiding out near Moya’s home. Glencolmcille soon becomes a hotbed for explosive gunfights and vengeance.
The film is set in 1974 at the height of the Troubles. Setting this film during such a tumultuous time for Ireland separates it from the usual action movie fare. The political representation is key. The IRA members are the villains here. However, they are not shown in a completely reductive light, and the film avoids trying to neatly present everything as black and white. By showing that there were moral grey areas during the Troubles, Lorenz gives the viewer a more accurate depiction of Ireland’s chequered past.
To bring the violence of that era to the screen, Lorenz opts for practical effects to add a sense of realism. While Lorenz uses action to drive the plot, he doesn’t let it take over. The gunfights throughout steer away from being over-stylised by focusing on substance over style.
The infrequent violence makes the action more memorable. These earned moments make each misdeed more brutal. The portrayal of this gruesome violence adds depth to the emotional toll such actions take on Finbar.
Finbar’s employer, Robert McQue (Colm Meaney), gives him his orders. As for the residents of Glencolmcille, established Irish talent and rising stars make up this small community. The whole village is rocked by the arrival of IRA bomber Doireann (Kerry Condon), who is on the run from the law in Belfast.
The tone of the film is not just translated through action, though. There are also elements of humour delivered by a number of characters on-screen. From the nosy shopkeeper to the ill-timed remarks from Kevin (Jack Gleeson), comedy can be found in many places.
In the Land of Saints and Sinners is an apt title for this film. As well as referencing the island of Ireland, it applies to the contrasting characters on-screen. The themes and subject matter of this film fit in well with Lorenz’s other work. Though he is an American director, he avoids the kind of clichés usually seen in US depictions of rural Ireland. He made a conscious decision to make the film as authentically Irish as possible. Not only did he employ an all-Irish cast, but also an all-Irish crew.
Finbar has paid the price for war in this film, now attempting to atone for his sins. He tells Kevin that his reason for becoming a contract killer was that he didn’t know what to do with himself after coming back from the war and feeling like a different person.
In an early scene, the viewer sees the land where Finbar has buried all the bodies. Above each plot is a tree planted by Finbar. Because the film is a period piece, production design plays a big part. The set is expertly crafted and brings the film to life. There’s an impressive array of cars from that time period, which accurately represent 1970s Ireland. Whether it’s the local pub, village shop, or a cosy cottage, the impressive set design opens a time capsule to the 1970s. The costumes are era-appropriate without feeling stagey. Colour plays an important role too. The vibrant use of green throughout brings the fields of Donegal to life. By using more muted colours for the local buildings, the lush natural landscape takes centre stage.
The surrounding nature is at constant odds with the violence erupting around Ireland. Lorenz’s camerawork signifies the shift from the confines of city life to the freedom of rural living.
In the film’s introduction, the city of Belfast is shown in tight, claustrophobic close-up shots. The narrow city streets and tightly packed buildings enclose the characters on-screen. In contrast, when Glencolmcille is first shown, there is a slow zoom. The beauty of the Irish Sea and rolling green hills looks all the more stunning after the grey city streets and dark skies.
Mark Michael McNally and Terry Loane’s script infuses the film with meaningful dialogue. Through their writing, the film’s other characters are also developed on-screen. Kevin has more to him than meets the eye and shares his aspirations with Finbar. Doireann is also illuminated by the writing—she is not just shown as a villain but has her own backstory, which is shared with the audience. Each of the characters is well-realised, with unique personalities and traits.
Through Finbar’s internal struggle and Doireann’s devotion, Lorenz asks—can someone truly atone for their sins?
Neeson’s performance as Finbar is one of his most impressive in recent years. Supported by a wealth of Irish talent, Neeson is the guiding force behind the film. After embodying iconic action heroes on-screen since Taken (2008), this role gives him ample space to showcase his acting prowess. The supporting cast all bring their own traits to the story. By representing an array of different characters, the cast effectively portrays how ordinary people can get caught up in conflict. Their chemistry is very strong.
Nestled in the natural beauty of Donegal, this film blends the perfect mix of drama and action. In the Land of Saints and Sinners is masterfully crafted with a wholly entertaining premise.
In the Land of Saints and Sinners is available to stream online now.
