In the Name of the Father (1994)

IN THE NAME OF THE FATHER is one heck of a good film, which helps
explain the eight Oscar nominations.  Jim Sheridan's scathing commentary
on British justice is a multifacted film that's also part prison pic.
and part political primer.

The story is based on the autobiography of Gerry Conlon (Daniel
Day-Lewis), an Irish man arrested for the 1974 bombing of a pub in
Guilford, London.  The blast killed five and the police rounded up the
usual suspects and then some.  One of those arrested was Conlon, who was
innocent and later coerced into signing a confession.

Conlon, his friends, and a host of other innocents, including his dad
(Pete Postlethwaite), were quickly convicted and sentenced to severe
terms.  Conlon spent 15 years in jail until his conviction was
overturned in 1989 with the help of solicitor Gareth Peirce (Emma
Thompson).

Conlon's story is all history and, in the hands of another filmmaker,
could be a tired rehash for those who already know it. But boredom is
the last thing anyone should feel while watching this remarkable film.

From the a dazzling opening sequence-- with armored vehicles chasing
Conlon through the debris-strewn streets of Belfast-- to an emotionally
charged finale, IN THE NAME OF THE FATHER is an engaging, exciting film
that's worthy of all the praise you've already heard.

The direction is great, the writing is sharp, and the acting credits are
all superb.  Day-Lewis, Postlethwaite, and Thompson are all fantastic,
even if Emma doesn't get much screen time.  There's both talent AND
money in this film and it shows in other technical areas such as
photography, production design, soundtrack.

There are a couple caveats. The film is rather oppressive, no duh. And
two hours of wrongful imprisonment is quite taxing in a film with a
scarce sense of humor. The film also feels truncated. Even after 138
minutes, there should be more movie. Title cards help explain the
characters' final fates-- but they do little to help the viewer complete
his emotional release.  (Rated "R"/133 min.)

OSCAR NOTE:  Isn't it interesting that none of the "Best Picture" noms
are seamless?  FATHER feels truncated and a bit humorless. THE FUGITIVE
falls apart at the end. As does REMAINS. As does LIST.  (THE PIANO is
just plain murky.)

BOTTOM LINE:  Acclaimed duo Jim Sheridan and Daniel Day-Lewis reteam for
a scathing commentary on British justice.  One of the best films of last
year.

Grade: A

Copyright 1994 by Michael J. Legeros