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Bloody Sunday
Controversial docudrama based on events in September 1972, when British soldiers shot and killed 13 unarmed civilians during a peace march in Derry. Powerful and thought-provoking
Bloody Sunday was a turning point in the Troubles, leading to an escalation of the conflict and 25 years of cyclical violence. Paul Greengrass's film about the event, first aired on ITV in January 2002, caused some indignation for its alleged "Brit-bashing". But rows and debate are exactly what one would expect, and wish, from such a film. Greengrass doesn't shy away from difficult truths, which makes this very uncomfortable viewing indeed. Like the writer-director's award-winning TV drama 'The Murder Of Stephen Lawrence', Bloody Sunday is a recreation of events using eye-witness accounts and documented evidence. It's shot in documentary style, with handheld cameras, naturalistic acting and editing that skilfully conveys the sense of this being a news story in progress. The film covers 24 hours, centring on the civil rights march that turned into a bloodbath. At the heart of the drama is protestant MP Ivan Cooper (Nesbitt), who organised the march as a peaceful demonstration. His efforts were doomed, not least because of the attitude of General Robert Ford (Pigott-Smith), the army's commander in Northern Ireland, who was gagging for a fight ("Go on, 1 Para, go and get them - and good luck"). Although a number of Catholic teenagers are shown taunting and throwing stones at the soldiers, it is the film's contention that the Paras needlessly - and murderously - opened fire with live ammunition. As well as being deeply shocking, these scenes, shot with handheld cameras on the run, make for intense, visceral cinema. As the people of Derry run screaming and confused, chased by soldiers who are, probably, just as scared themselves - but happen to be armed and trigger happy - the sense of chaos and slaughter could not be more powerfully depicted. While the v??rit?? style depends on a substantial use of non-actors, the professionals lend much of the film's bite. The decision to cast Nesbitt, the amiable star of TV's 'Cold Feet', as Cooper was met with scepticism, but he gives a terrific portrayal of idealism dealt a bitter blow. Verdict Whether you'd call this 'docudrama', 'faction' or 'factual drama', the result is enough to make you seethe with anger and moral outrage. Thirty years too late, some say, but better late than never. |
