The movie “In the Land of Saints and Sinners” begins in a busy pub, but trouble arises when a bomb blast attempt goes wrong. The perpetrators, who are a group of IRA members led by Doireann McCann, flee from Belfast to a small coastal town in Donegal, which happens to be the home of a hitman named Finbar Murphy. As the IRA members try to hide in the town, they eventually come into contact with Finbar, leading to a drama about regret. Despite being politically disengaged, the movie is consistently watchable. The story is set in Northern Ireland in 1974 and focuses on the events that unfold after the failed bombing attempt.
The movie is an Irish production, but it is interesting to note that American filmmaker Robert Lorenz has infused it with a distinctly Western vibe. The opening notes of its score, which is composed by the Swiss-Austrian trio GREAT GARBO, consisting of siblings Diego, Nora, and Lionel Baldenweg, sound distinctly inspired by the legendary Ennio Morricone, albeit with the occasional use of Irish folk instruments. It is worth noting that these two seemingly disparate genres may not mix on the surface, but Lorenz’s Wild West approach to Troubles Ireland is less about flashy gimmicks and more about creating an introspective mood that draws viewers in.
It is also worth noting that the film seems to be inspired by Lorenz’s long-time collaborator, Clint Eastwood. Despite its use of echoing, Morricone-esque flutes and harmonicas in its score, which is reminiscent of Sergio Leone’s The Good, the Bad, and The Ugly, a film that starred Eastwood himself, the movie takes more after Unforgiven, a deconstructive neo-Western. The film’s protagonist, Finbar, played by Liam Neeson, is a widowed former assassin who, like Paul Munny, Eastwood’s character in Unforgiven, is haunted by his past. However, unlike Munny, Finbar’s bounty-hunting days aren’t too far behind him, and this is something that greatly affects his character development throughout the course of the movie.
In the Land of Saints and Sinners is a captivating film that tells the story of Finbar, a retired criminal who also happens to sell books. Coincidentally, on the day that Doireann and her crew arrive, Finbar decides to retire from a life of crime. The film features Neeson in the lead role and his portrayal of Finbar is remarkable. He displays a cold-hearted determination that later transforms into remorse in real-time. Neeson’s iconic delivery of “I have a very particular set of skills” in Taken is well-known, but his silence and reflective moments in the film are equally powerful. Director John Michael McDonagh knows how to utilize Neeson’s talents, especially in the way he presents Finbar’s dialogue. His conversations with his cop friend Vinnie, played by Ciarán Hinds, hide some lurid secrets.
Despite the moral murkiness of the story’s backdrop, In the Land of Saints and Sinners is surprisingly straightforward in terms of its morality. While Finbar’s life as a button man may weigh heavy on his heart, he rarely actually reckons with the consequences of his actions. The film establishes early on that killing people who have it coming, in some way, is acceptable. Finbar is a murderer with a heart of gold, who shows kindness to a neighborhood girl who is just trying to bring groceries home to her family. When he discovers that one of the IRA bombers has been hurting the young girl, he takes it upon himself to solve the problem. The solution to the problem is not complicated, and it is clear that the film’s moral compass is pointing towards a more straightforward point of view.
In the film “In the Land of Saints and Sinners,” we see a cat and mouse game between two hitmen, Finbar and Kevin. Finbar, played by Liam Neeson, takes on the role of a mentor to Kevin, portrayed with delightful flair by Jack Gleeson. However, the movie lacks any political perspective despite being set during the Troubles. Although there are some references to political metaphors, the film is disengaged from any political subtext. While Finbar refers to being trapped in a cycle of vengeance with Doireann, the audience seldom feels that way. The film mainly presents the IRA quartet as ruthless, two-dimensional killers, and this lack of depth in character development is disappointing.
Despite the film’s shortcomings in terms of political optics, the lead actors’ performances are consistently captivating. Although the film may not have much to say about Doireann, actress Maria Condon makes the most of her role. At times, she is utterly terrifying. Liam Neeson, whose career pivoted to these types of burdened roles after a family tragedy in 2009, demonstrates once again that his face is the perfect canvas for anyone hoping to paint the tale of a man afflicted by death. He also plays a widowed assassin in Lorenz’s The Marksman.
The filmmaking is largely unobtrusive, with broad, straightforward blocking and dramatic presentation that allow the actors to do all the talking. Although the camera rarely enhances any of the performances, the direction is still effective. Director Jonnie Lorenz knows just when to get out of the way, allowing the actors to shine and ramping up the tension in key scenes. Overall, while the film has its flaws, it is still an enjoyable airplane movie that works like a charm for audiences looking for a “turn your brain off” movie.
