Cillian Murphy film a ‘complex tale’ of a different Ireland

Oscar-winning actor Cillian Murphy describes his new film, Small Things Like These, as a poignant exploration of an Ireland that feels worlds away from the country known today. Based on Claire Keegan’s 2021 Booker-shortlisted novella, the film centers on Bill Furlong, a coal merchant from Wexford, who stumbles upon a harrowing scene at a local Magdalene Laundry in 1985.

The Magdalene Laundries, notorious institutions where women and girls who became pregnant outside of marriage were sent, serve as a grim backdrop for the narrative. These women, often cast out by their families and society, were subjected to harsh conditions in these facilities run by the church and state.

Murphy, acclaimed for his role as J. Robert Oppenheimer in Oppenheimer, plays Furlong, a devoted father of five daughters. His character’s life takes a dramatic turn when he discovers a girl imprisoned within the convent’s walls, prompting him to confront the dark realities of the world around him.

In a conversation on the Vinny & Cate show on BBC Radio Ulster, Murphy emphasized the film’s intricate themes, saying, “It is a very seemingly simple story but it is an incredibly complex tale.” He reflected on the societal landscape of Ireland during that period, recalling significant events such as the Kerry babies scandal in 1984 and the controversial “moving statues” phenomenon in 1985. He pointed out that during this time, there were no legal avenues for abortion or divorce, and access to contraception was limited, creating a vastly different societal context.

Murphy noted that the film intentionally blurs the lines of time, giving it a nostalgic feel that could easily be mistaken for the 1950s or 1960s. “It’s only when you drop in something like Come on Eileen that you realize we’re actually in 1985,” he explained.

The actor expressed surprise that some viewers categorize the film as “historical.” He stated, “It shows you how this country has changed since then. These laundries were in operation until 1996, which is kind of hard to fathom.” The film sheds light on the fact that over 10,500 women were confined to mother-and-baby homes from 1922 until the closures, with the last such institution in Northern Ireland shutting its doors in 1990.

Eileen Walsh, Murphy’s co-star, shared her hopes that Small Things Like These would ignite meaningful conversations among audiences. She commented on the film’s depth, noting, “There is so much subtext within it. I think three people can watch the film and have three different opinions as to how it ends, or who has their empathy at whatever point.” Walsh added that the narrative concludes just as the tension escalates, leaving viewers to ponder what the next chapter might hold.

The film’s exploration of trauma, societal judgment, and the search for redemption resonates deeply in a contemporary context, inviting reflection on Ireland’s complex history. Murphy’s portrayal of Furlong serves as a vessel through which the audience can engage with these difficult themes, reflecting on the moral dilemmas faced by individuals caught in a system that often prioritized institutional reputation over human dignity.

As the film prepares for release, its poignant themes and historical context invite audiences to reflect on not only the past but also the changes that have taken place in Irish society. Small Things Like These promises to be more than just a cinematic experience; it aims to challenge perceptions and encourage dialogue about the legacies of such institutions.

In sum, Cillian Murphy’s Small Things Like These offers a vital commentary on a painful chapter in Ireland’s history, revealing the complexities of human experiences amid societal constraints. The film’s intricate storytelling and powerful performances have the potential to leave a lasting impact, shedding light on the importance of compassion and understanding in the face of historical injustices.