Irish Cinema: My Left Foot

(J.Sheridan, Ireland/ UK, 1989)

by Cina Aissa

(cinnaramone@yahoo.co.uk)

Cinema in Ireland emerged at the beginning of the 20th century. The first
films were “short simple film presentation with live musical accompaniment in music
halls and variety theatres” (Pettitt 2000: 31). The viewing conditions were very
similar to those in Britain and the rest of Europe but production and distribution were
dominated by Hollywood. In early 1920’s also, 26 counties gained their independence
and formed the Republic of Ireland, separating it from Northern Ireland, which
remained under English control. Between 1922 and 1957, film was seen as a medium
that needed to be controlled, as it had potential to pervert the morals in Ireland. This
was a period of “cultural and economic protectionism” (Pettitt 2000:33). The
Censorship of Films Act was introduced in 1923 and it made way for the state,
educators, and the Roman Catholic Church to exercise their control with censorship.
“In the first forty years of operation, the censor banned about 3,000 films and made
cuts in 8,000 others” (Pettitt 2000:33). The films were Irish North Americans or
British productions.
In 1958 Ardmore Studios were established. They were Ireland’s first
permanent film studio and were funded by the government. But though Ardmore
“promised much in terms of indigenous production, employment, and training of film
trades, it became fairly quickly a hireable facility monopolized by British and US
studios as a production space.”(Pettitt 2000: 38). There was no support for Irish
filmmakers. Ireland joined the European Union in 1972 and its filmmakers turned to it
for financial support. “The Arts Council of Ireland had been empowered by
legislation since 1973 to assist film in Ireland but it was not until 1977, by providing a
film script award for indigenous writers, that this institution provided serious
support.” (Pettitt, 2000: 38). The Irish Film Board was established between 1981 and
1987 by independent filmmakers who wanted to promote Irish culture. In the 80’s
Irish government began to support the film industry because it starts to make money.
But attracting international money remained essential for “…Ireland [who] presented
and exploited itself as a picturesque location base (despite the weather) for US and
British productions to send over visiting directors and crew enticed by favourable tax
relief” (Pettitt 2000:39).

In film, Ireland is depicted as an idyllic place. Its geographical situation of

‘Celtic periphery of Europe [gives it…] myth and romanticism’ (Gibbons 1988: 194).
The scenery is green and beautiful. Sepia colour, small towns and images of
community interaction give it a postcard look that represents ‘realism and
authenticity’ (Gibbons 1988: 241). The absence of privacy between self and
community is both a blessing and a curse.
Stereotypical characters abound: women are both strong-willed and submissive; they
are very pious and visit the Catholic Church regularly. The catholic faith is central to
the characters’ life and behaviour. It also explains the proliferation of children within
the context of marriage. Men are taciturn and emotionally shut down, they meet at the
pub. From time to time, they act out in violence and drunkenness. The difference of
the characters can also be heard in their musical and thick Irish accents. The
narratives often pull on the heartstrings, involving poverty, romance, charm, and
heartache. ‘Irish themes- Collective violence, family ties, rituals of solidarity, a
longing for community’ (Gibbons 1988:241) are romanticised.

Set in early 1960’s Dublin, My Left Foot (J.Sheridan, Ireland/ UK, 1989) is an
autobiographical account of the life of Christy Brown, a young man afflicted with
cerebral palsy. To communicate, he learns to control his only functioning appendage:
his left foot. As a young boy he learns to write by holding a piece of chalk between
his toes. Through a series of flashbacks, the film shows us how Christy has arrived to
this respectable position of guest of honour in a charity event. His past is reconciled
with the present when he reaches out to fall in love again. In a heart-wrenching tale
about love and love lost, the film follows Christy as he overcomes all obstacles and
becomes a writer and painter.
My Left Foot (J.Sheridan, Ireland/ UK, 1989) was “heavily funded by British
television film producers like Granada and Channel Four” (Pettitt 2000: 117).
My Left Foot (J.Sheridan, Ireland/ UK, 1989) has won several Academy Awards:
Daniel Day Lewis won the Best Actor award for his role as Christy Brown. Brenda
Fricker won the Best Supporting Actress award for her role as Mrs. Brown. The film
was also nominated for Best Picture, Best Director and Best Adapted Screenplay
Awards.

The story is constructed on flashbacks. My Left Foot (J.Sheridan, Ireland/ UK,

1989) presents a beautifully crafted imagery of Ireland through the 30’s to the 60’s.Its
brown dominated colour makes up for a world of sepia recollections. The flashback
shots contrast with the 1960’s luxurious and open shots. The formers are constricted
shots. Their mise-en-scene consists mainly of the poor, dark and overcrowded living
room of Christy’s parents. Horizontal long shots that present Christy in his ‘standing
up, lying down position’ often keep him to one side of the screen. The darkness of the
badly lit environment is a powerful analogy for being kept in the dark: what is not
being said, the shame and inconvenience of keeping Christy in. The takes are long
and each frame resembles ‘a painting that moves’ (Booth in Gibbons 1988:210)‘
The camera angles also show quirky angles, often tilt-ups or downs presenting
Christy’s point-of view and an omniscient point of view. The round pan at the
restaurant presents other people’s point-of view on Christy (prejudice and fear in
restaurant goers faces, Christy as a monstrous attraction). As he grows up, he owns
his vision much more, what used to be furtive, hidden looks become a vision that is
shared and supported. The benefit shots are open, airy and light. Inside the mansion,
the marble of the stairs, the red velvet of the curtains and chairs give a luxurious
image of Christy’s present surroundings. Open spaces and green scenery signify
Christy coming out and being in the open, taking risks by dating and marrying the
nurse. The last image is a frozen frame of Christy with Mary Carr opening a bottle of
champagne, a symbol of sexual maturity: Christy’s coming of age.

The 80s were a landmark period in the history of Irish Cinema when
substantial and consistent film production started to emerge. Jim Sheridan’s My Left
Foot, made way for In The Name Of The Father (UK, 1993), Neil Jordan’s The
Crying Game (UK, 1992). A beacon to new Irish cinema, it heralded an era of
recognition and success for Ireland and its cultural identity.

Bibliography:

Everett, W. (ed) European identity in Cinema, Exeter, Intellect Books, 1996

McIlroy, B. Ireland, World Cinema 4, Flicks Books, Wiltshire. 1989
Pettitt, L, Screening Ireland, Film and Television representation, Manchester
University Press, Manchester, 2000
Rockett, K, Gibbons, L, Hill, J. Cinema and Ireland, Routledge, London, 1988.
Vitali, V, Willemen, P. (ed) Theorising National Cinema, BFI, London, 2006.

Websites:

http://au.encarta.msn.com/encyclopedia_781539006/irish_cinema.ht
ml
http://www.irishfilmboard.ie/programmes.php
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http://www.efp-online.com/cms/news/news_overview.php
http://ec.europa.eu/information_society/media/index_en.htm
http://www.iftn.ie/distribution/IrishCinemaStataistics/
Eurimages: http://www.coe.int/t/dg4/eurimages/About/default_en.asp
http://europa.eu/pol/av/index_en.htm
http://www.europa-cinemas.org/en/index.php
http://www.media-antenna.com/
http://www.irishfilm.net/New.html
http://www.iftn.ie/
http://www.cultureireland.gov.ie/