That They May Face the Rising Sun

The pace is slow and many scenes come back to the same road but it is a seamless wonder portraying both genuine difficulties in life and a serenity of the seasons and lifestyle that melts together. I enjoyed the array of characters, each with a story and edge. It was somber but not depressing and the use of closeups and distant landscapes worked to keep a slow pace moving. The only negatives was the sound...maybe in the cinema it wasn't adjusted to the right volume but also the piano wasn't always appropriate. Also maybe the couple were just too perfect but that had an inspiring positive side too. It is a very good film and a quality few films reach.

Watch this movie and be at peace with a different rhythm of life from a time and place that is gone. Some of it with good riddance and some with a beautiful longing attached. The people are all from my childhood in one way or another and the vivid and stirring performances moved me greatly.

The unabated fury, the humdrum quiet, the occasional out of place remark, the gentle mockery of the hypocrites - this is a stunning insight into rural life at the time of my childhood. I am grateful to see it now as an adult and grasp the subtleties that were beyond me then.

If you cannot marvel at their splendor and that of the scenery that remains in the west of Ireland, then plan a visit to see the modern day version. Spoiler alert : it's the same only different.

Joe, (Barry Ward), and Kate, (Anna Bederke), have returned from London to rural Ireland. He writes, perhaps a novel, perhaps not, while she sketches and makes little decorative pieces from twigs and bits of wood. The rest of the time they simply try to manage the small farm holding on which they live, mostly with the help of kindly neighbors. The seasons pass and nothing out of the ordinary happens; one neighbor marries and another dies and we simply observe the small details that make up these people's lives.

Based on John McGahern's novel, Pat Collins' really quite extraordinary and quite extraordinarily moving film "That They May Face the Rising Sun" could best be described as Ireland's answer to the films of Ermanno Olmi or maybe the Taviani Brothers. Gorgeously shot on location in County Galway this is one of the greatest of films about rural life and the day-to-day existence of people who have nothing and yet who want for nothing.

Director Collins is fundamentally a documentary film-maker and he brings a documentarian's eye to bear on proceedings here drawing extraordinarily naturalistic performances from his cast. Veteran Irish actors like Sean McGinley, Lalor Roddy, Ruth McCabe and Brendan Conroy are doing perhaps their best work here and it's hard to believe that Phillip Dolan as one kindly neighbor has never acted in a film before. Leads Barry Ward and Anna Bederke are also superb in their quietude and their empathy, outsiders who nevertheless feel like the backbone of their community, magnets drawing others to them for help or just for a listening ear. A masterpiece that simply has to be seen.

A beautiful portrait of the loneliness and isolation in countryside living, and finding the small joys in the monotony of the everyday. The random assortment of world-weary locals constantly dropping by Joe and Kate's home perfectly encapsulates the people for whom life has passed them by, and who come and go from the world leaving little trace.

It's also a tale of living with the hand you're dealt and the choices you make along the way. It's easy to envy the success of others when you don't have much to your name, or live in the past when times were better, but finding serenity in what you do have is the real key to life.

Sometimes all you have in the world is the people around you; sometimes they're all you need.

There is a lot to praise in That They May Face The Rising Sun: stunning scenery, great acting, beautiful score, but the presence of a strong plot, theme, or central relationship, one of which at least, is required to hold a great film together, was lacking. The married couple around whose lives and cottage the main action revolved, seemed to coexist largely on a diet of meaningful glances and melancholy embraces. Joe's (Barry Ward) depiction as a stoic Good Samaritan-friend, embalmer, driver, letter-writer to all, starved the actor of any emotional range, and the the action of any dramatic surprise. His wife (Anna Bederke) had little to do but smile serenely at her new, semi-cloistered, adopted world, like a novice nun stuck with her vows. Clearly Pat Collins placed most of his chips on mood and atmosphere, which for me, often echoed that doomed rural isolation and missed opportunity which The Ballroom of Romance did so well. I liked some set pieces, particularly the the wedding, where the close up of Brendan Conroy's lonely face tore at the heart. The wake (strangely, for its time, without a priest in sight) and laying out of Johnny's corpse, showed the single death is also a communal one. I loved Sean McGinley's performance, especially in that devastating scene where his eyes and voice convey the deep shame he feels for having left Ireland, only to end up cleaning the 'English jacks' in Fords.

The film succeeds in what it sets out to do; capture life in the ordinary moments of ordinary, often frustrated individuals, present it in significant, often striking fragments rather serve it up as a coherent narrative whole, a kind of style that Fellini perfected in the incomparable Amarcord.