The Guard

Well, that’s pretty f*ckin’ rude.

guardThe Guard is the newest film by Irish director John Michael McDonagh, brother of Malcolm McDonagh (director of In Bruges).  It’s a crime comedy in the vein of “Like Guy Ritchie, but…”, though the “but” is in this case indicative of the fact that it isn’t much like a Guy Ritchie film at all.  It has Mark Strong, as did Ritchie’s RocknRolla, but aside from that, the well-timed black humor, and the fact that there are nearly zero prominent female characters, it’s McDonagh’s creature through and through.

The film is carried by the lovable Brendan Gleeson (who may be on his way to becoming the Irish John Candy).  Gleeson plays Sgt. Gerry Boyle, an unorthodox member of the “garda” (Irish cops in Gaelic-speaking Galway).  He’s not a bad person, he just doesn’t take his job seriously.  When he’s not taking hits of acid from drug-dealers’ corpses and keeping them for himself, Boyle spends time with his dying mother (Fionnula Flanagan) at a retirement home.  In these scenes, which are equal parts madcap and surprisingly tender, we see where Boyle gets some of his traits (his language, for one).  When Boyle’s new partner (in whom he has no interest) is whacked for almost no reason by a trio of infamous drug-runners (Mark Strong, Liam Cunningham and David Wilmot), Boyle’s unit is visited by FBI Agent Wendell Everett (Don Cheadle, the one Yank in the film).  Through one thing and another, Boyle and Everett are partnered up in order to solve a series of crimes involving these villains.  The scenes between Gleeson and Cheadle feature the classic Odd Couple character development, but McDonagh allows the characters to retain multiple lines of tension with one another and also to spend time by themselves.  From their second scene onward, we can tell they sort of like each other, but have fundamental issues with the other – Everett’s issues with Boyle’s erratic on-the-job behavior and his sheer laziness, and Boyle’s seemingly innocent ignorance about black people, the FBI, and pretty much anything but Galway.  The latter leads to some wonderful scenes between the two, during which we hope with all our hearts that Boyle won’t say something that completely ruins the already strained friendship.  (“I thought black people couldn’t ski.  Or is that swimming?”)  Cheadle’s reactions to Boyle’s comments are priceless, both in facial expression and dialogue.

Cunningham, Strong and Wilmot play the villains as people who know they’re the bad guys in a movie.  They stand perfectly still in immaculately-framed shots of beautiful scenery and talk about being bad.  Strong, also a fish out of water character, plays the film’s sole Englishman, and behaves so harshly that his partners must warn other characters, “Eh, he’s English.”  Cunningham plays the de facto boss of the three, and comes close to the fourth wall a few times.  Wilmot gets a great one-on-one scene with Gleeson, during which McDonagh employs the Fallacy of the Talking Killer (the old movie ploy in which the bad guy, about to kill the hero and need only pull the trigger, foolishly explains all of his plans, giving the hero time to plan and execute an escape).

EDIT (2014): I wasn’t happy with the rest of what I typed here, so I deleted it.  Just watch the film.

The Guard (2011); written and directed by John Michael McDonagh; starring Brendan Gleeson, Don Cheadle, Fionnula Flanagan and Mark Strong.

Advertisements

Leave a comment

No comments yet.

Comments RSS TrackBack Identifier URI

Leave a reply

Please log in using one of these methods to post your comment:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s