‘SMALL THINGS LIKE THESE’: Cillian Murphy Shines In This Powerful Irish Trauma Tale
Cillian Murphy takes on the dual role of producer and lead actor in this poignant tale of profound sorrow, directed by Tim Mielants and adapted by Enda Walsh from Claire Keegan's acclaimed novel of the same name. The film delves into the dark legacy of Ireland's infamous Magdalene Laundries where unwed mothers were forced to work in deplorable conditions, enduring humiliation and stigma, while their infants were forcibly placed with foster families.
Set in County Wexford in the early 1980s, the story centres on Bill, a quiet coalman with a troubled past who has established a successful enterprise through years of dedication. Married to Eileen (Eileen Walsh), they have several daughters whose schooling is provided by the church.
Cillian Murphy in ‘Small Things Like These’
Around Christmas time, submerged memories from his past begin resurfacing, prompting Bill to awaken in the middle of the night to brew tea and peer out of his window in silence. One day, while driving his van, he encounters a destitute boy collecting sticks. This encounter triggers a flood of memories for Bill, reminding him of his young mother and past Christmases marked by poverty. We get a glimpse of these memories through flashbacks, but also through Bill’s anguished stare rendered devastatingly effective by Murphy’s subtle interpretation. Painful memories that he has buried for too long now shaking him to his core, and us with him as we walk along the rainy streets of Wexford alongside him.
While delivering coal to the church laundry, a place avoided by locals, Bill witnesses the psychic and physical distress of the girls inside, envisioning his mother's fate had she not been rescued by a wealthy local. When he returns soon after, he finds one of the abused girls, Sarah (Zara Devlin) exiled to the coal shed, trembling with cold. Reluctantly, he brings her back to the convent led by chilling Sister Mary, portrayed by Emily Watson as the embodiment of authority and indifference in the face of suffering. He struggles to keep the abuse he has witnessed to himself but the sister holds sway over his daughters' education and his wife clearly reminds him that “to get on in this life, there are things you have to ignore.”
Emily Watson in ‘Small Things Like These’
Murphy delivers a nuanced performance, capturing Bill's inner turmoil as he grapples with memories of loss and the weight of his own conscience. As we watch him battling this unspeakable truth, Mielants skillfully highlights the hypocrisy of a cheerful town celebrating Christmas and chanting in the streets just a few meters from the horrors of exploitation and abuse. Similarly, Bill’s interactions with his wife and their daughters offer glimpses into the complexities of family life overshadowed by societal expectations and institutionalised cruelty towards local young women.
As the film reaches its enigmatic conclusion, viewers are left to ponder the blurred boundaries between reality and illusion, truth and perception. The open ending, faithful to the book, leaves viewers questioning whether Bill has decided to speak up or simply found temporary relief for him and Sarah. Having been deeply immersed in this gloomy Wexford winter, mirroring Bill’s inner struggles, we are well aware of the risks and sacrifices that would come with speaking up. Just as Bill oscillates between moments of happiness with his family at home and moments of pure despair when alone with his memories, Mielants maintains a sense of dread and uncertainty up until the very last scene.
Cinemugsie winner
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Cinemugsie winner 〰️
AFTERTASTE
4.5