Bloody Sunday
Art purists sometimes take Rookmaker’s proclamation that “art needs no justification” and thus completely reject the notion that art, music and film can be used as tools. As usual, both extremes miss some valid points. The fact is: art communicates. And, purists’ attitudes notwithstanding, communicating art is not “low brow” or cheap by default. The makers of Bloody Sunday not only wanted to tell a story, but they wanted to write history. The impact of the events surrounding the civil rights march on January 30, 1972 in the town of Derry, N. Ireland is still felt today. Sometimes this film made me aware of the fact that I was watching a movie, as I began thinking about edits and cuts instead of just being gripped by the story. Much of the movie is shot with a shaky documentary feel, but this isn’t the guilty detail here. The handheld cameras actually achieve the up-close feel that the viewer was there. Overall, the story is told very well, and it’s one that grips the heart hard ‘n heavy. Like a great tragedy, the viewer is wont to somehow stop the events on screen from unfolding. Having the character development of young Gerry Donaghy is one such example. It’s inevitable in movie logic that he’s going to get hurt, but it feels even worse knowing it’s based on truth. This movie gives real heart and soul to the famous U2 song, “Sunday Bloody Sunday,” which plays as the credits roll. The extras are good, too. [Columbia Tristar/ Doug Van Pelt]
Obscenities: 53
Graphic Violence: 1 0
Nude Scenes: 00
% Spiritual Relevancy: 10 0
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