On the Uncertainty of Calvary

Calvary is an uncertain piece of cinema. Tonally and narratively the film is a faltering mix of ideas with an overall effect of self-importance that frustrates rather than impresses. The story of a priest threatened with death for crimes of paedophilia committed by the Catholic Church is a good one, but Calvary isn’t really about this. The dialogue makes reference to it, but the film isn't about it. More than anything, the film is about death and is full of clumsy death metaphors that are spoken by apparently literary characters who frustrate the protagonist who in turn takes some pleasure from revealing his congregations’ lack of literary merit. Instantly, Father Lavelle is an unlikeable character, especially as much of what he says also sounds pretentious. Combined with its unsure tone and dialogue that makes reference to a wider cinematic context we at times almost expect Father Lavelle to turn to the camera, nod and wink. Aren’t I clever, the film is telling us, I know what you, the audience, also know? In this way Calvary resembles Martin McDonagh’s Seven Psychopaths (2012), but far less successfully.

Calvary’s tone also does the film no favours. At times feeling like an episode of The League of Gentleman (1999 – 2002), at others bleakly depressing, it’s difficult to know whether this is tragedy or absurdist cinema. If it’s the latter where is the commentary on the human condition? The characters here are too tentative to be substantial. The title refers to the moment of crucifixation or a piece of art depicting this. Calvary ends with the death of a man, but there is no sacrifice here, there is no resolution to the loose paedophilia story and no one is saved by his death. If there is a message to be found in this reversal of ideas, it is indistinct.