Empire and After

Film Review
The Wind That Shakes the Barley
Prof. Jane Ohlmeyer

Submitted by

Ravyansh Yadav
2020191057

ravyansh.yadav_yif20@ashoka.edu.in

INTEGRITY STATEMENT

By my signature below, I certify that I have not received improper help nor given it to others
in writing this assignment nor have I used any method that would give me an unfair
advantage over others in the class. This assignment represents my own work only and I had
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Ravyansh Yadav
03rd September 2019
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Empire and After
Ken Loach’s historical war drama, The Wind That Shakes the Barley, offers a gruesome
account of the Irish war for independence and the consequent civil war. It is a fine example of
‘history from below’ or the people’s history. It focuses on the everyday Irish suffering at the
hands of British oppression instead of focusing on the leaders like Michael Collins, Sean
Connolly or Éamon de Valera. It conveys the spirit of the times very clearly and the actors’
abilities to portray the urgency and patriotism of the time only adds to this.
Little things especially stick out, like Easter eggs, throughout the film. The use of hurling in
the opening scene which is followed by a crackdown by the ‘Black & Tans’ is symbolic of
the British crackdown under the Defence of the Realm Act that did not even spare sporting
associations, specifically targeting the Hurling clubs and teams. There are other instances of
symbolism that one can notice. The closing scene of brother-killing-brother, besides
depicting former allies becoming bitter enemies after the peace treaty, reminds the viewer of
the hostilities between the Irish people during partition and also of the dominion’s Irish
government ‘hunting’ IRA spies who once fought alongside them for Irish independence.
The story seems to be serving history and the politics of the time. Flushing out historically
accurate events and a very detailed setting leaves little room for the story to focus on
development of the characters and their motives. For instance, Damien’s (Cillian Murphy)
experience of the British forces’ brutality first-hand as a motive to join the IRA seems to be a
convenient plot tool to further the creation of the narrative of two brothers on ideologically
opposing sides. Similarly, there is almost no development or focus on Liam Cunningham’s
Dan, Pádraic Delaney’s Teddy and Orla Fitzgerald’s Sinead.
That said, the film’s heaviest moment, when Damien has to deliver IRA justice on John
Crean’s Chris Reilly for having given up sensitive information, delivers its punch. Damien’s
spiral into complete allegiance to his stance and ideology cements after he has to ‘execute’
Reilly (with a very heavy heart) is supplemented by the setting of Cork’s gloomy hills &
valleys and by Cillian’s brilliant portrayal of vulnerability and doubt which is then
summarised by one of the most significant delivery of dialogue, “I hope this Ireland we’re
fighting for is worth it”. This moment is the no-turning-back-now moment for Damien, which
is why it serves the plot very well. The viewer can feel Damien’s angst, doubt and anger. The
viewer feels Damien’s conflict within. After this, Damien emerges stronger and fiercer in his
conviction which eventually leads to Damien’s refusal to accept the British peace treaty.
There is also a consistent focus on Damien’s socialistic ideologies competing with Teddy’s
moderation and realpolitik which is brilliantly shown during the argument at the temporary
Irish court of justice as to whether a benefactor of the independence movement in Cork
should be prosecuted for charging unreasonable rates of interest rates from the poor.
The film does justice to history and the times it is set in. It conveys the hostile environment,
in the form of torture scenes, violence and ideological conflicts very vividly. The viewer is
immersed in the era and is invested in seeing justice done. The film, however, fails to engage
the viewer in its characters, which is a shame considering the talent that was involved in the
motion picture.