As I settled in to watch Small Things Like These, I was ready to be enveloped in a poignant narrative set against the backdrop of 1980s Ireland. The film’s premise, delving into the deeply troubling history of the Magdalene Laundries, along with a stellar cast led by the immensely talented Cillian Murphy, had me eager for an emotionally resonant experience.
However, as the film unfolded, it became apparent that while the story was undeniably important to tell, its execution had all the charm of a wet sock. Touted by some as a slow-burning masterpiece, I soon found myself wrestling with boredom that threatened to drown out the critical themes the film sought to explore.
The Magdalene Laundries: A Dark Historical Reality
To fully appreciate the layers of Small Things Like These, it’s essential to understand the grim backdrop of the Magdalene Laundries, which the film attempts to address but ultimately does not articulate with the necessary clarity. Known as Magdalene Asylums, these institutions represent a dark chapter in the history of women’s treatment from the 18th century into the late 20th century. Named after the Biblical figure Mary Magdalene, these asylums were initially established to house "fallen women," a euphemism for those who faced societal judgment for premarital sex or who had turned to prostitution.
The first Magdalene institution opened its doors in 1758 in Whitechapel, England, spearheaded by notable reformists who aimed to “rescue” what they perceived as morally lost souls. These institutions were predominantly operated under Protestant and later, Catholic influences, often shrouding their punitive nature under the guise of rehabilitation. Unfortunately, the reality was far bleaker; these asylums functioned more like grim workhouses. Women were subjected to harsh conditions, forced to work long hours for little to no compensation beyond basic sustenance.
Many laundries became lucrative businesses, running commercial laundries that catered to external clients. Residents faced sweat-inducing labor under strict and often brutal regimes, harsher than typical prison environments. This cruel juxtaposition of help versus punishment led many survivors to characterize their experiences as deeply traumatic and dehumanizing.
The Magdalene laundries found their way into several countries, including the UK, Ireland, Sweden, Canada, Australia, and the US, reaching their peak in the late 19th and early 20th centuries. By 1900, England alone had over 300 such institutions. In Ireland, the first asylum opened in 1767, and many more soon followed, earning notoriety for their brutal treatment of women. The legacy of these institutions continues to echo painfully, especially with recent public inquiries aiming to uncover the truth about the suffering endured within their walls.
The day-to-day existence inside these institutions was harrowing. Women had no means of escape unless they conformed to the strict behavioral codes imposed upon them. Life was punctuated by exhausting labor and rigid discipline, with the phrase “the heat was unbearable” becoming emblematic of their suffering. For many, the experience was a harrowing blend of enforced servitude masked as redemption, leaving lifelong scars and a profound imprint on the societal perception of women's rights. The thematic exploration of such historical trauma is undeniably potent, yet Small Things Like These struggles to articulate these complexities effectively. This lack of clarity may contribute to the film feeling both poignant and frustrating in its approach.
A Plot that Struggles to Sparkle
Small Things Like These revolves around Bill Furlong (Cillian Murphy), a coal merchant whose life takes a sharp turn when he stumbles upon a girl named Sarah locked away in the convent’s coal shed. The initial scenes paint a vivid picture of Bill’s character as a decent, hard-working man with a troubled past, hints of which are woven through flashbacks. Yet, as the narrative progresses, the pacing plummets to a crawl.
The film aims for contemplative depth but ends up drifting into a dull lull. Key moments of tension, such as Bill’s moral dilemma following his discovery of Sarah, feel understated rather than impactful. The film struggles to articulate the gravity of Bill's choices, making it a challenge for viewers to fully engage with the stakes at hand. The plot offers glimpses of something worthwhile, especially in its exploration of societal complicity in the shameful treatment of vulnerable women, but these moments lack the narrative drive to truly captivate.
Moreover, subplots involving Bill's family and the community dynamics at play are introduced but often falter in their execution. We receive tantalizing snippets of character development, but these threads get lost in the tepid flow of the film, leaving a waterlogged narrative barely capable of carrying its emotional weight.
A Cast of Giants in a Distant Landscape
If there’s one aspect of Small Things Like These that truly raised my spirits, it’s the remarkable cast. Cillian Murphy delivers an exceptional performance as Bill, imbuing the character with nuance that shines even in the film's quieter moments. His portrayal captures the inner turmoil of a man caught between societal expectations and moral integrity, and it's impossible not to feel sympathy for his plight.
Equally commendable is Emily Watson as Sister Mary, who walks the fine line between authority and menace. The tension between her character and Bill offers some of the film’s more impactful moments, showcasing the constant undercurrent of fear and complicity that permeated that era. Eileen Walsh, as Bill’s wife, adds layers of complexity to their relationship, infusing moments of warmth and discovery amidst the prevailing gloom.
However, despite these stellar performances, the film’s pacing undermines their efforts, causing moments of genuine connection to feel fleeting and overshadowed by the slow-moving plot. The well-drawn characters find themselves trapped in a narrative that fails to do them justice.
Directorial Vision: A Mixed Bag of Ambitions
Director Tim Mielants has an artistic vision that shines through in the film’s cinematography, capturing the stark beauty of the Irish landscape and the bleakness of the season. Every frame is lushly composed, inviting viewers to soak in the moody atmosphere that envelops the characters. It’s a visual feast that knows how to create an emotional pull through imagery, but unfortunately, it feels at odds with the sluggish storytelling.
While Mielants demonstrates an ability to evoke feeling through visuals, the pacing choices seem more like a meandering stroll than a purposeful jaunt. There’s an air of self-importance in the film’s direction that strives for resonance but instead creates a deliberate disengagement. My expectations for a cohesive, impactful narrative were dashed in favor of prolonged silences and scenes that crawled when they should have soared.
Themes and Emotional Impact: A Whisper Instead of a Shout
At its core, Small Things Like These addresses profound themes of morality, complicity, and the consequences of silence. The issue of the Magdalene Laundries is notorious for its heartbreaking history, yet the film’s handling feels a touch muted. While it undoubtedly sheds light on human cruelty and the dark side of societal norms, the emotional impact was often overshadowed by its deliberate pacing.
Genre and Tone: A Journey Through the Gloom
As a historical drama, Small Things Like These strives to capture the somber essence of its subject matter, but it also risks becoming overly drab. The tone wobbles between reflective and mournful, which might appeal to fans of understated storytelling. However, as a viewer seeking narrative progression combined with emotional engagement, I found myself at odds with its glacial pace.
Much of the film feels trapped in a melancholic haze, which might resonate with certain audiences but left me yearning for more vibrancy and urgency. The genre does lend itself to somber themes, but B-lining for the bleak without enough stakes feels like a cinematic faux pas.
Comparative Analysis: Stuck in the Middle of the Road
In analyzing Small Things Like These against Mielants’ prior works, as well as the historical dramas from the previous decade, it becomes clear that this film represents a somewhat provincial outing. While it garners comparisons to The Breadwinner in its dedication to a strong narrative focus on marginalized voices, it fails to match that film's narrative efficiency and emotional engagement.
Compared to Murphy’s roles in Peaky Blinders and Dunkirk, here he is confined in a slow-paced drama that, despite its strong performances, never truly takes off. Other films featuring similar themes elevate the discourse in ways that Small Things Like These aspires to but doesn’t quite reach.
Conclusion: A Flicker of Potential in a Dull Glow
Upon reflection, Small Things Like These offers a beautifully shot exploration of a crucial topic with moments of brilliance from its actors. However, the film’s slow pace and lack of narrative drive ultimately hinder its achievements rather than making it a powerful addition to the discourse surrounding the Magdalene Laundries.
While some viewers may find solace in the cinematic silence and contemplative exploration, I left the screening grappling with restlessness and disappointment. It’s a film that, in trying to say something profound, loses the urgency that compelling cinema often demands. Nevertheless, for those who appreciate the nuances of performance and visual art, this film may still offer a worthwhile experience, albeit one that more active viewers may find dragging at best.
