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With his first film My Name is Joe, writer/director and performer Peter Mullan showed that he was not afraid to tackle issues (in this case alcoholism) that would make most directors, let alone studios, quake in their boots. His new effort is again deserving of all the right adjectives: hard-hitting, unflinching, stark and often brutal. Since the film has already condemned by the Catholic Church we know there must be some good reason to view it, and while it is not an easy two hours to spend in the cinema the results are thought-provoking and worthwhile.
The film purports to tell the distinctly unsavory but true story of the Order of the Magdalene Sisters, a convent of Irish nuns so fierce that Mullan could have satisfactorily called his film Full Metal Habits. They terrorised Ireland, or at least the young girls of Ireland, until late into the last century. Their convents, ostensibly places where errant young women could find the path to salvation and Jesus were actually little more than prison camps where the inmates were subjected to regular humiliations, beatings and punishments that seem to
have little in common with any of the Biblical teachings.
When the girls arrive their transformation is swift: forced to don pallid brown uniforms, their main occupation is to spend all day every day in the laundry, scrubbing in silence. Conditions are grim and it is clearly a place where the joy of Catholicism has turned its back. The film then charts the girls attempts to struggle against the system they have unjustly found themselves in and ideally manage to escape from the prison.
If one could pick a fault or two with Mullan they would be minor: the structure of the film becomes too obvious too quickly and while it is compulsive viewing none of what happens is particularly surprising. Also, anyone who grew up under the often oppressive religious atmosphere in Ireland - an atmosphere which still pervades across large sections of Irish society - would have a much greater understanding of the way in which religion was used to strike fear into the population and especially the young.
To be fair to Mullan he does address this latter issue to some extent and it may well have been the case that he didn't want to overpoliticise his film. Still, there are many things to savour, notably a shining cast of old hands (Geraldine McEwan is terrific as the ferocious Mother Superior) and novices (the three girls are all equally outstanding). The towering performance however comes from Eileen Walsh as the naïve and timid Crispina. An actress who shone in the little seen Janice Beard 45wpm, she delivers a simply astonishing
turn.