Directed by | |||
| Alan Clarke | |||
Writing credits(in alphabetical order) | ||
| Bernard MacLaverty | writer | |
Produced by | |||
| Danny Boyle | .... | producer | |
Cinematography by | |||
| Philip Dawson | |||
| John Ward | |||
Film Editing by | |||
| Don O'Donovan | |||
Costume Design by | |||
| Maggie Donnelly | |||
Makeup Department | |||
| Kathy Carruth | .... | makeup artist | |
Production Management | |||
| Jennifer McAufield | .... | production manager | |
Art Department | |||
| John Jenkins | .... | scenic supervisor | |
| John McCready | .... | properties buyer | |
Sound Department | |||
| Bryan Elliott | .... | boom operator | |
| Ken Hains | .... | dubbing mixer | |
| Peter Lindsay | .... | sound | |
Visual Effects by | |||
| Peter Wragg | .... | visual effects | |
Camera and Electrical Department | |||
| Allister Maxwell | .... | gaffer | |
Other crew | |||
| Ken Bond | .... | armorer | |
| Paul Clarke | .... | design | |
| Mark Huffam | .... | assistant floor manager | |
| Kevin Jackson | .... | location manager | |
| Stephen Killen | .... | assistant floor manager | |
| Christine Sufferin | .... | production assistant | |
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| Counter-Blow | Bank Alarm | Romeo Is Bleeding | King of New York | Amores perros |
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Alan Clark's ugly, austere short film follows a series of murders in Northern Ireland. Silent assassins are tracked through ordinary streets, with minimal cuts, in an attempt to show sectarian violence realistically.
Watching this years after the apparent media circus that surrounded the initial screening of the film in 1989, without any contextualising information, was like being thrown into the midst of chaos. There is absolutely nothing to establish setting or motivation - the film never alters its pattern, and we are only given blink-and-you'll-miss-'em indicators that we are watching a film about the IRA. The inference here seems to be that, as well as establishing the brutal, faceless, emotionless threat, these murders could happen anywhere at anytime, that murder and gang violence isn't specific to Northern Ireland.
But I have problems with the film. Time after time, we see the execution-style murder, with the camera lingering for a few seconds on the victim. By the end of the film, this seems so routine that the power of the shock is entirely diminished. Was this Clark's intention? Perhaps he wanted his audience to react to the problem rationally, and he saw this film as a way of achieving that, by visualising the violence for us.
This pragmatic political stance makes for uninvolving cinema, but it shouldn't be overlooked.