Calvary succeeds despite grim storyline

Succeeding the streak of positive reviews from his previous work, The Guard, Calvary is John Michael McDonagh’s second directorial triumph. A low budget Irish independent film played by strong actors such as Brendan Gleeson, Chris O’Dowd, and Domhall Gleeson, the movie is about a priest who is constantly challenged about the validity of faith, righteousness of the church, and absolution of sins. The title can be quite misleading, but the story is not nearly as didactic or overly religious as it may sound. In fact, the narrative treats Christianity as a mere setting for the plots to be driven by, and the story does not put down or impose the religion. Through the use of this element, however, it seems that the attempt of the filmmakers is to provoke the viewers to question the capacity of forgiveness and the fickleness of human nature.

The movie begins with a shot of Father James, played by Brendan Gleeson, listening to a confession of a man out of the frame. The man tells him about how he was raped by a priest as a child and that the rapist had died. After explaining to Father James that there is no point in a bad priest dying since it would not be shocking, the man announces that he will shoot Father James at a local beach in a week because he is a good priest who has done nothing wrong. The story spans over a week as the priest visits other members of the congregation who have made disturbing confessions to help them with their problematic lives, and the audience soon learns that Father James himself does not have a perfect life; he is a judgmental alcoholic and a father of a suicidal daughter.

As grim as the subject matter of the film is, Calvary has surprisingly funny moments. McDonagh sprinkled over a decent amount of dry humor throughout the film, which can easily catch the audience off guard. By drawing back the attention of the viewers that might have slightly drifted away by the slow pace of the film—which one can argue completely justifiable as this reflects the overall bleak atmosphere of the town and the priest’s emotional state as he makes effort to stay calm while his death day approaches—such wry wits heighten the sense of disgust, awe, and sympathy at the pinnacle of the story. Calvary really takes the time to progress in the plot line allowing the characters to fully develop and the themes to completely steep into the viewers’ minds, but this also means that not everyone is going to come out of the theater feeling satisfied. It does not cater to those who seek for suspenseful actions and dynamic entertainment, although it can get quite intense towards the end.

Nevertheless, with its breathtaking cinematography, Calvary would definitely captivate any cinephiles who appreciate the visual aesthetics of a film. The ample use of one-point perspective wide-angle shots is rather reminiscent of Wes Anderson’s The Grand Budapest Hotel, and the muted color palette suggests a resemblance to Tom Hooper’s The King’s Speech. Dabbled bits of drab red on top of the overall musky green tone, the soft juxtaposition of the contrasting shades in the frames are eye catching yet comfortable to look at. As if that isn’t enough, the sparing amount of aerial shots of the scenic landscape of Ireland accompanied by delicate melancholy scores make it difficult for anyone to look away.

The silences that do not cease to be graceful thanks to Brendan Gleeson’s contemplative facial expressions well flaunt his capability as an actor. His lines are often comparatively terse, but his lack of words is filled by his strong performance. Whether Gleeson mutters for a short duration or roars with anger, his emotions are successfully conveyed.

With a thought-provoking script, charming visuals, and solid actors, Calvary is a notable film for its humble budget, especially considering that it is McDonagh’s second feature length work as a director. The film may seem like it falters at times due to the particularly gradual pace, and the superfluous understatements can be slightly overwhelming at times.Nonetheless, if you enjoy good-looking independent dramas with a stoic ambience, or if you simply want to be entertained by a drunk widowed swearing judgmental priest who was never really there for his suicidal daughter, Calvary is a movie to watch while it is still in theaters.