These three films owe their success to an ensemble cast of Irish actors most of whom cropped up again and again whenever Ireland used to be depicted in theatre, film or television.
Representing an early style of theatre acting that needed to be clearly heard at the back of the auditorium without microphones, Noel Purcell in "The Majesty of the Law" gives the tone to most of the acting in these three films by beautifully blasting the other actors with an outsized performance. Cyril Cusack offers a rare subtlety. In "A Minute's Wait" watch dozens of actors flowing back and forth on a platform in rural Ireland as the principals share performances in true ensemble fashion.
The first two films are glorious comedies with only the faintest kernel of truth. But, no matter, by suspending disbelief, you can settle down and let the blarney flow over you.
The third film "1921" which starts with a potential execution, a strange addition to the other light stories, nevertheless manages to haul in the blarney yet again in order to lighten the tone. And no one expects even this one to end badly. There is a final song even.
All three films contain plenty of comic dialogue and, best of all, are shot on location and, despite being in black and white, we get to see much of a real Ireland - even if it's mostly in the background.
