Belfast Movie Criticism | A personal and heartwarming account of Kenneth Branagh
Kenneth Branagh, in his film Blefast “Belfast”, narrates the bipolar and violent dictatorship of the institutions from the perspective of a 9-year-old boy, narrating the conflict between Protestants and Catholics in Belfast in 1969.
Kenneth Branagh in Belfast brings us a personal account of his childhood experiences in this city. The 9-year-old boy, named Buddy, is somehow reminiscent of his 9-year-old. We will be accompanied by a boy who is about to enter the bipolar and violent world of adults. A world full of diverse conflicts between two spectrums, neither of which is willing to recognize the other, as if taking their identities away from each other. In the meantime, there is an upstream institution that expands these two poles in the heart of society. According to Belfast, the church is the institution that secretly is the first link in the chain of all the city’s conflicts. By instilling divisive thinking, extremist priests stir up followers of both Protestantism and Catholicism, and everyone in the neighborhood is labeled as one of the two. But those with a Catholic label are not safe.
Brana does not intend to delve deep into the conflict. However, given the agreement at the beginning of the film that the main conflict between the two religions is to advance the narrative, Jali Khai feels a thorough rooting out of this long-standing conflict in the film. But instead of narrating the conflict from a 9-year-old perspective, Brana intends to ridicule the nature of the conflict with all its horror and ask only one fundamental question: If the boy in the film does not want to be constantly on top of the two. What is a way? And what if instead of these two absolutely good and bad ways and putting religious labels on themselves, they consider more diverse ways to chart their future?
By narrating the conflict between the Catholic and Protestant spectrums from a 9-year wind perspective, Brana intends to ridicule the nature of this conflict with all its horror.
To generalize the personal world of his film, Brana has embarked on a theme that is tangible to any community. Religious bipolarity is just one form of multipolarity that can take the lives of many people at any given time. Also in the continuation of this bipolar atmosphere, the concern of the migration of people who are victims of these conflicts in their country and have to choose between leaving and staying is another winner of the film that can be understood by any audience. With this introduction, we enter the world of Belfast film.
Details of the story of Belfast are revealed below
In the background are the historical paintings carved on the colored walls of Belfast, where from the initial plans it seems to be a prosperous and peaceful city today. Observe the cost of achieving life today. Quiet Street The beginning of the film, which reminds me of Chaplin’s Easy Street, is suddenly in turmoil, and the inflatable toy guns seem to take on a real color. In the midst of this conflict, Brana’s camera spins around in the wind to fully evoke the overturning of that childish world in contrast to this violent world.
He must step into this chaotic world very soon and label himself. Now, if Chaplin cleverly disregards all church prayers by hugging a child in the film The Quiet Street, that humorous tone in the windy look can also mock Catholic rites. That it is very easy to be a Catholic. All sins are forgiven by appearing one day a week and confessing before the priest. All that strife for such etiquette? The scene of Badi and his brother attending the Catholic Church, with those extreme close-up and exaggerated scenes that Brana captures from the priest’s mouth, still emphasizes the satire of the two absolute ways that this institution puts in front of everyone.
If the outside streets are unsafe, the cinema has become a safe haven for this family and wind. Cinema is better than those conventional dipoles of the church can open the windy eyes to the world around it
But the windy world is supposed to be filled not only by two ways, not even two ways like heaven and hell, but also by various ways. He is supposed to come out from behind the fences every morning and go to school and practice making love. He is also going to ridicule the class teacher’s demarcation, which he values the children each time based on their grades, and use it to advance his own perspective. For him, it is important to sit alone with the girl he loves. He also takes this look from the generation of someone like his grandfather who has chosen no other way but love.
Apart from falling in love with that girl, the windy world, or to put it better, the world of Brana’s film, is also tied to another soothing and mesmerizing phenomenon of that time. It is nothing but cinema. If the outside streets are unsafe, the cinema has become a safe haven for this family and wind. Cinema is better than the traditional dipoles of the church, it can open the windy eyes to the world around it.
The culmination of cinema’s connection to the world of film is where the duel of High Noon by Fred Zeinemann prepares Buddy for his father’s final confrontation with Bailey sooner. However, in that scene of confrontation in the street and with the broadcast of Dmitry Timokin’s piece in the windy mental world, cinema has come to his reality and has given a clearer picture of his future. But in line with Brana’s satirical and childish look in the film, the connection of the duel scene to the neighborhood confrontations in reality is still in line with the same satire that Branا intends.
Now these naive demarcations create such an atmosphere of insecurity that the mother of the family eventually agrees to leave Belfast. However, Brana places the main burden of the family struggles on leaving or staying only on the mother’s monologue plans and does not explore the family desperately as it should. This despair is limited to these two plans. The conflict between the Protestants and the Catholics is also forgotten in many parts of the middle of the film, and an attack on the store is designed only to confirm the mother’s decision. But the frame, which in the next scene shows the size of the Biological family in the foreground and the father and children in the background, is one of the best frames to remember from this film.
Eventually, the dipole dictated by the church reaches the point where it categorizes people about leaving their place of residence. The bipolarity of the church ultimately divides them into three categories: those who must go, those who remain, and those who are sacrificed. But Musharraf Brana’s gaze appreciates them all. Because he knows they are all victims of a hidden element. Victims should not be criticized.