In the Land of Saints and Sinners

MADMAN

Robert Lorenz – notable producer for Clint Eastwood and later directorial debut effort with the star in Trouble with the Curve – follows up his sophomore Liam Neeson-starring The Marksman with another re-team with the infamous actor: the far more dramatic and poignant character driven study In the Land of Saints and Sinners. Whilst it is a better outing than their previous effort, Lorenz’s film still struggles with aspects of his own direction and aesthetic that, quite ironically, have rubbed off him due being a disciple of watching Eastwood behind the camera.

It is evidently clear that this has a sense of the slow-burning Clint Eastwood direction inside this venture. First and foremost, the visual aesthetic does not cry out with personality nor have a visual charm. Like the thematic itself, it is blunt, objective and straightforward, and though this is not a fundamental flaw by any means, In the Land of Saints and Sinners severely lacks a degree of warmth and charm towards the material that this venture desperately needs for emotive connection. Furthermore, the visual aesthetic here gives off an impression of perhaps being the trade cut before final cut. Specifically, in terms of its colour grade – which is nonexistent – and with the choice of digital cameras making this look too clinical and clean, it drastically undercuts the message of morality and dirt beneath the fingernails that this type of tone is trying to wash away but needed to stick like blood on white sheets. It is small subtle details like this in which the film fails to procure a subconscious, or elevated filmmaking quality, to further hoist the material at hand. It is a classic Eastwood system of “no bullshit” that actors say on-screen, make a story and then go home. It is that very principle type of filmmaking which is on the nose and lacks a form of further immersion and spectacle. 

Equally flat and almost rudimentary is the cinematography and, ultimately, the framing of setting. Shooting the lush green character of Ireland should never be this stationary of practice, yet at every turn, cinematographer Tom Stern gives little character or flavour to this brooding pot or morality and bloodshed that is unleashed in this land. Like the aforementioned issues with aesthetic, little conscious lineage of tone and thematic is found in the image presented throughout, and what is represented in this specific story. It gives off a strong impression of almost naivety towards the viewer or an active impression of disinterest from the creatives upon the story. Which, in turn, feels mighty disappointing and controversial concerning the subject matter, affecting the relationship between story and viewer in a matter of: why should they care?

It’ll ultimately be up to the viewer to decide if such elements derail the experience, and one would find it hard pressed for casual audiences to believe it would do. Nevertheless, it is these subtle details of nuance that work so subconsciously but are hardly noticed or utilised by the production. Alas, like the aesthetic and screenplay, they don’t have any further depth aside from the most basic procurement in what is said and prescribed to the viewer through one-note characters and dialogue. Little is here, again in nuance, in conversation or even blurred lines or external character conscience, that is not on the nose or specifically apparent, which flatlines conversation and dialogue on a further level of viewer discussion. What is said is what is thought, rinse and repeat and that is the amount of depth that is provided on this specific topic of revenge killing in 1970s Ireland. Stories that still hold fresh wounds to this day. 

In the Land of Saints and Sinners is a limited, albeit momentarily interesting, story and is compelling enough but never forms a thesis deeper than basic two-sides waging war over two rights both making a wrong. That is the moral compass of which Lorenz’s film rests its shoulders, and little else in the wake of compassion or internal investment is found to uncover the characters and land present. Neeson provides enough emotive immersion – this should be no surprise – but rests on the morals of being a household name for that warm charm he so effortless invites. He is, of course, charming and therefore his arc becomes more personal that way for the viewer and immersion is undeniably found, but again, it does no further that what is described. Then enters fresh off the press academy award nominated actress Kerry Condon who in the presence of evil in hell could make them shudder in how she delivers anger and rage through dialogue. She is utterly superb here, and it should come at no surprise to say that’s she’s unequivocally the strongest aspect of production. Her performance as this relentless and persistent persecution of rage is both exhilarating and yet frightening to watch. She nails her role and when given a monologue of poignant nature equally as impacting delivers with conviction. Game of Thrones alum Jack Gleason and Ciarán Hinds with Colm Meaney all add little small textures to the story with distinctive differing palettes but are given little screen time to do so. It is, however, the surrounding female cast that adds so much substance and momentum to this story that seemingly get left behind, be it Sarah Greene or Niamh Cusack who just aren’t given anything in terms of arc yet feel integral to this story with their emotive prowess and instigation.

All in all, aside from a blowout in its climax and the the needed mention (once again) of powerhouse Kerry Condon, little benefit comes from the viewing of In the Land of Saints and Sinners, which gives such a strong impression of disinterest in its subject matter that it further begs the question why it deserves an audience to experience it to begin with. Granted, it is an interesting and sometimes compelling film with moments of character, it truly fails to instigate a conversation or emotive dialogue of which it wants to discuss.



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