Characters and themes in "The Banshees of Inisherin" from an existential perspective

 

Reflections on characters and themes in “The Banshees of Inisherin”,

 from an existential perspective

Written and directed by Martin McDonagh

Starring Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan

Set on a small island off the coast of Ireland toward the end of the Irish civil war, “The Banshees of Inisherin” recounts the tale of musician Colm’s attempts to terminate his life-long friendship with unsophisticated dairy farmer Padraic. Heartbroken and unable to understand or accept Colm’s sudden change of heart, Padraic persists in trying to rekindle their friendship with dramatic and life-changing consequences.

In my opinion, “Banshees” is first and foremost an existential drama about the conflict between personal freedom and coexistence. It may be playful and comical in places but fundamentally it explores existential themes such as the lack of moral imperative, the effect of the inevitability of death, the desire to do something worthwhile despite (or perhaps because of) the apparent pointlessness of life, the impact our actions and very existence have on others, and the responsibility we may feel for that impact which conflicts with our right to exercise freedom, in this case the freedom to break off a long-term relationship.

Colm has arrived at the outlook-shifting conclusion that his days are numbered and he wishes to do something worthwhile with his remaining time, so he decides to focus on composing music. What he does not want to do is spend any more time with Padraic who, he has concluded, is dull and offers no stimulation or help in his new-found preoccupation with doing something rewarding rather than indulge in idle and wasteful (as he sees it) chatter.

While Colm is intelligent, reflective and has turned his mind to thoughts of achievement and legacy, Padraic is a simple soul content to live out his time in emotional security and unthinking happiness. However, Colm is direct to the point of brutality in informing Padraic of his decision to no longer speak to him or have anything more to do with him, and this causes Padraic considerable pain and heartache.

Colm is exercising his personal freedom to do and act as he wishes, as he is entirely entitled to do, but he fails to take into account the impact of his actions on his one-time friend. He clearly feels that Padraic should simply accept his change of mind and move on but Colm’s influence is so embedded in Padraic’s life that Padraic cannot fathom life without his friend and this rejection causes him profound emotional and perhaps psychological distress as this social and emotional anchor is weighed from his life.

According to the precepts of existentialism, Colm should not harm another to achieve his goal but there is nothing to say he can’t harm himself in the pursuance of that aim, in the hope that Padraic will concede for fear of indirectly causing harm to Colm. This ingenious existential ploy does somewhat suggest hypocrisy and manipulation on Colm’s part as he casually abandons any feelings he might have had for Padraic but depends on Padraic’s continued feelings for him to achieve his goal of ridding himself of Padraic.

In a tragic way, Padraic grows and develops. He learns to think beyond the immediate as a result of encountering pain, negativity and distrust. As a result of Colm’s attitude and actions, Padraic goes from innocent and happy-go-lucky to bitter and vengeful. He is overwhelmed by hurt, disappointment, insecurity and a newly-felt sense of nothingness.

Colm rejected the innocent and shallow Padraic as unworthy of his friendship and esteem but, at the end of the film, Colm appears to have gained a degree of respect and perhaps even fear for the new unforgiving Padraic created, ironically, by Colm’s own actions. Thus, Colm comes to see and feel the consequences of his actions and ambition on others.

Death is frequently referred to in the course of the film as regretful and final. There is no real question of spiritual survival or even satisfaction at a life well spent. Colm has suffered bouts of despair or depression, perhaps as a result of contemplation of his life and a lack of a sense of achievement which leads, of course, to his fateful decision regarding Padraic. Colm even tells Siobhan he fears he is only entertaining himself until the inevitable and asks if she doesn’t feel the same. Clearly, he has questions about the point of his life and has broadened his concerns to incorporate everyone.

When faced with Colm’s aspirations to achievement and worth, compared to the dullness and mediocrity of Padraic and his like, Siobhan points out they are all boring little men even if they try to convince themselves they are doing something worthwhile. Perhaps Siobhan has shared these existential thoughts but opts not to dwell on them. She will put the past behind her, leave the island to start afresh and make an effort to make the most of her life.

I suspect the action and themes may also be viewed as an allegory for the causes and divisions in the Irish civil war, with some happy to accept the status quo while others wished to develop and evolve, and our film shows how such differences of opinion can evolve into deep-felt matters of principle and grudge.

Officer Kearney enforces “law and order” by force and bullying rather than reason and understanding and that is how he has brought up his son Dominic, an apparently simple soul who is remarkably insightful if socially inept but is deprived of love, affection and respect. Kearney’s parenting skills, or lack of them, impact Dominic, in this case quite literally, and it is only when it is too late that Kearney realises his feelings for his son and perhaps the responsibility he bears for his development and fate. Time is of the essence in terms of achieving clarity of vision and understanding regarding relationships and responsibility, and ensuring the avoidance of regret and guilt.

I wonder if Kearney may also be viewed as representative of historical authority in Ireland, resorting to force and violence to ensure compliance, while his offspring may be viewed as something of a misfit, denied affection and acceptance by society at large.

Although most of the characters are seen attending church and Colm even confesses his sins, religion does not appear to hold any sway over events. Indeed, when Colm and the priest disagree, ending in a bad-tempered argument, this may suggest that the influence of religion amounts to no more than an exchange of views between two people.

Martin McDonagh tells this sorry and thought-provoking tale with emotional engagement, clear characterisation and development and, amazingly, with no small amount of humour to lighten the dramatic intensity and make the whole more involving and palatable.

In terms of acting, I thought all involved acquitted themselves admirably with varied, engaging and intelligent performances.

It may not be everyone’s cup of tea but I found this film stimulating, beguiling and thoroughly entertaining.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)      Blog            YouTube