THE PLAYBOYS

Ireland, 1992, 117 minutes, Colour.
Albert Finney, Aidan Quinn, Robin Wright, Milo O’ Shea, Alan Devlin, Niamh Cusack, Niall Buggy, Adrian Dunbar.
Directed by Gillies Mc Kinnon.

An entertaining outing to Ireland, 1957.

It is one of those films that audiences go to art house cinemas and find that they have enjoyed a film which has something to say. It is familiar movie territory: the village dominated by the moral stances of the parish priest, the stern police chief, the unmarried mother and the cantankerous neighbours. Into this atmosphere come some strolling players, The Playboys, whose burlesque and vaudeville improvisations (from Othello to Gone with the Wind) mean that they will always play the provinces. Needless to say, there is some IRA and terrorist background.

But the focus is on the personal drama and the comic touches. It is not as stern an Ireland as in the field, but it is a harsh place. Albert Finney is the policeman, American Robin Wright is excellent as the mother, accent and all. Aiden Quinn is the roving playboy. An entertainment with something to say, and a likable film.

1. The appeal of the Irish story? Ireland itself? Its characters? International appeal?

2. The title, the tone? Playboys in general? These particular playboys, the theatre and their performances?

3. The Irish locations, the village, the shops and streets, homes? The 1957 period? The beauty of the surrounding countryside? The musical score?

4. The Irish tradition, the harsh aspects of life in Ireland, the Catholic background, morality, judgmental attitudes, gossip? The role of the priest? The relationship between the sexes? Children – and children out of wedlock?

5. The character of Tara, Robin Wright’s presence? Living with her sister, the tailoring work? The pregnancy, the church, the reaction of the priest? The baby, the people’s reaction, the priest and the puzzle? Brendan and his concern for Tara? Her not wanting him? And the irony of the truth of the fatherhood of the baby? The other suitor, his death? A woman of life and verve, with the child, the shooting?

6. Brendan and his sombre character, his background, the relationship with Tara, her drinking, the pregnancy? The priest and confession? The violence, warning off suitors? Brendan’s work in the town, the police? The proposal? Burning the crib?

7. Tara’s suitor, anguish, the dead horses, death? The reaction of the priest?

8. Tara, the smuggling, the Troubles? Her being cursed, urged to marry? The denunciation? The suitor and his approach?

9. Tom, a member of the Playboys, the clowns, the entertainment, the children’s response, mischief? Setting up the theatre? Freddie and the crew, the performances, the eccentricities, improvising, watching Tara? The peeking and the water, the improvisation? Tom’s charm, as a suitor for Tara?

10. Freddie and his style, the nudity, the can-can and Othello, going to see Gone with the Wind, the theatre performance and the send-up?

11. The troupe and their working together? The tensions?

12. Tom and Tara, walking together, sharing, his response to the child, the child’s behaviour, the tattle? The sexual relationship? Burnt? The truth and the bribing of the guard?

13. Brendan, his fatal attitudes, his anger, treatment of the theatre people, drinking, the fighting and leaving?

14. The background of the IRA, Cassidy, the actor, the children, the bombs and the police?

15. Brendan and his drinking, the children and the explosives? The arrest? Tara confronted? The stealing of the child? The fight?

16. Tom, his story, his decision? Tara and Tom leaving – and the uncertain future?

17. The Irish – with their blend of the comic and the tragic?