Eat the Peach

In a way, "Eat the Peach" is a classic. The catch is that this film never attempted to pander - or even explain itself - to an international audience. You had to be Irish - and probably rural Irish at that - to understand much of the humour and many of the characters (especially Niall Toibin's "faux returned Yank").

Similarly, the peat industry references and the sub-plot revolving around cross-border smuggling are likely to have been lost on overseas viewers. "Eat the Peach" was made before the Irish film industry had truly found its feet and so, perhaps unintentionally, seemed to have been aimed mostly at domestic movie-goers.

This, IMHO, is why this movie is remembered fondly in Ireland but has never received the international exposure it may otherwise have enjoyed. At heart this is a film about courage and optimism. About pitting one's wits against a hopeless situation. About living as a pawn yet trying to turn the tables on "the man."

And in those terms, "Eat the Peach" is a runaway success. It deserves to become more widely known.

I saw this on its release in 1986 and really enjoyed. Nothing spectacular just a film on the struggle of 2 men who have been made redundant and decide to do something different. I was a little bit reminded of Eat the Peach when I watched Take Shelter. A bit of stretch maybe but it did remind me. Yesterday I saw footage from 1979 on the real life men who the film was based on and who actually built a Wall of Death in Granard County Longford. It reminded me of the film and I have ordered a copy. I hope it is as good as I remember from all those years ago

Don't expect an Oscar winner but it is hard not to watch and enjoy

Thanks

Oh Dear God! This was on the TV again the other day and it served to remind us just what a truly appalling specimen of film making looks like. It's hard to believe that, back when Irish films were a rarity (and a film not about the IRA even rarer), there was actually a stirring of excitement about this films release.

This film would be quite good were it not for the lame plot, dull characters, and feeble dialogue. Oh and the sets, actors, production, and weather were all a let down as well. How did the great Eamonn Morrissey (and others who deserve better) get caught up in this mess.

The sheer crapness of this film alone was enough to convince people that nothing of any cinematic worth would ever emerge from this island. Thankfully this view has been proved wrong, thanks to visionaries such as Neil Jordan, Jim Sheridan and many others who have given us many great films over the past decade.

However, this film's place in cinematic history should be guaranteed thanks to The Most Spectacular Piece of Miscasting in the History of Film - Niall Toibin (venerable comedian, character actor, and professional Corkonian) demeaning everyone concerned with his hilarious "American Businessman" routine.

Still, it's better than The Courier.

The film is about two men with a random and frivolous idea, actually if they were to have any respect for the circumstances they were living in it's a stupid idea. Nevertheless they commit themselves to it and in following through on their commitment they find resources of courage and creativity, shining a light back onto a 1980's Ireland so lacking in those traits.

The film doesn't make itself out to be better than the characters, it shares their commitment to the beauty of the idea and to the internal logic and urgency of the project. It's not ironic or snide and the characters aren't made out to be quaint or laughable. There's a space and a gentleness in the way they pass the time (which is one thing they're rich in) with each other and their families.

The reality they're up against is a fairly accurate depiction of the spirit and mood of 1980's Ireland if my memory serves, and the filmmakers somehow managed to get it financed and produced without paying for foreign investment with clichéd scenes for the prejudices of our Anglo-American cousins. I'm amazed that some meddling producer didn't push for a humorous confession scene where the priest turns out to be an expert on motorcycles, or protest that the pub with the bare walls and silent characterless men staring down into their pints didn't look "Irish" enough. Most of the time as Irish people we have to cringe or fast forward through these scenes, but this film has details and in-jokes just for us - the Southfork-inspired house of the local bigwig, the ministerial Merc, the young, dynamic Pat Kenny stepping out of the RTE van.

As an Irish person, I like to catch as many home-made films as possible when they are in the cinema. In the case of this one, I wish I'd stayed home in front of the TV. There's a hackneyed storyline which falls back on every Oirish cliche in the book, cardboard characters and nothing to keep you watching. Stay away my friends.