(Reading time: 4 mins.)
“DEADLY CUTS” FILM IS … DEADLY1
Michelle (Angeline Ball) runs a hairdressing salon in Piglinstown, a fictional Dublin city suburb that looks like Finglas3 and the area is suffering the attention of a local gang of thugs led by Deano (Ian Lloyd Anderson). The Gardaí4, represented by one individual played by Dermot Ward, are ineffectual in dealing with local crime and seem also well-disposed to a local politician, a Dublin City councillor, whose solution to the area is demolition of a parade of shops, including the hairdressing salon, followed by redevelopment. Michelle’s staff are Stacey (Ericka Roe), Chantelle (Shauna Higgins) and Gemma (Lauren Larkin).
Playing smaller roles are the local butcher Jonner (Aaron Edo), along with owners of the fish and chip shop, the local pub, pub entertainment organiser and three elderly ladies in particular.
Darren Flynn (Aidan McArdle) is the local politician, a Dublin City Councillor, who lets slip later in the film that he has a lot of property speculators waiting to get their hands on the area. Of course, in real life, nothing like that would happen in Dublin City Council, among the Councillors or the City Managers, would it? Quite apart from that, one must feel some sympathy for a certain Dublin City councillor who must surely wince every time he hears “Councillor Flynn” mentioned in the film’s dialogue.
If you know Dublin working and lower-middle class suburbs then some of the visual scenes will be familiar, the streets of housing, the green area, short strips of shops, including the chipper, the cheeky kids on bikes, the pub as a social centre. But for women the hairdressing salon plays a social role too as one can see from the varied ages and requirements of the customers. There was a time in some areas when the local barber shop played the same role for men, the waiting customers, the customer in the chair and the barber all taking part in the same conversation.
You’ll know too that unemployment tends to be higher in such areas and that there are social problems in particular with bored and disengaged youth, drug-taking and selling …. but not necessarily more of the taking than occurs in middle-class areas, particularly when the young people start clubbing.
Areas that could do with regeneration around the local community are not unusual in and around Irish cities but when that regeneration takes place it’s usually for another class – the gentrification project. That’s what’s in store for Piglinstown, if Mr. Flynn and his invisible property speculators have their way. This film is making its debut at a time when property speculators are visibly running wild over Dublin, building hotels, residential apartment and student accommodation blocks (of which most students can’t afford the rents), meanwhile destroying communities, cultural amenities and historical sites. And Dublin City Managers are giving the go-ahead for these planning applications while An Bord Pleanála regularly turns down appeals or moderates the application somewhat but rarely in essence.
The highpoint of the film both in tension and in flash and showbiz buzz is the Ahh Hair competition, which the Piglinstown hair dressing salon wants to win in order to boost their profile and avoid demolition by the speculators. Here Pippa (Victoria Smurfit) plays the vicious upper-class nasty with abandon, aided by her three familiars, the snooty Eimear (Sorcha Fahey) chief among them, many hands in the film’s audience surely itching to slap. Nor is the nastiness only verbal.
But it is also high satire, from Thommas Kane-Byrne as Kevin, the camp announcer and poseur judges with ridiculous hyperbole, including the star hairdresser D’Logan Doyle (Louis Lovett), to the cheering hooray henry and henrietta types in the audience. Even the finalist hairdressing creations would be to most people ridiculous, as are some of the creations and installations that win the annual Turner prize. Are the real hairdressing competitions anything like this?
Among the actors, it’s good to see Angeline Ball who charmed us in The Commitments (1991), 30 years ago and still looking good as the salon owner Michelle and Pauline McLynn who insisted in the eponymous series that Father Ted would have a cup of tea, “Ah, you will, you will, you will”. Comedienne Enya Martin, from Giz a Laugh sketches plays the staff’s somewhat sluttish friend.
As I noted earlier, most reviewers have given the film high marks for entertainment value – not so Peter Bradshaw, who dealt it savage cuts in the Guardian and gave it only two stars out of five. “With violent gangsters, a gentrification storyline and a hairdressing competition, this movie can’t figure out what it wants to be.” Really, Peter? It seems to me that the film is all those things and manages them well within an overall comedic form, something like Dario Fo and the problem is that you just don’t get it.
The incidental music is a series of lively hip hop by clips from different artists, including the mixed English-Irish language group Kneecap. These should have your foot tapping and body swaying as you follow the plot and the dialogue, smoothly edited from scene to scene, laughing and occasionally shocked.
The resolution of the Piglinstown community’s problems in the film is as drastic as unlikely, (however much some viewers may agree with it). But the film is a very enjoyable and if you haven’t seen it already, I strongly recommend you do so.
1“Deadly” was a common Dublin slang expression which has fallen out of use but would still be recognised by many; in the way that much counter-culture slang uses the opposite from an accepted term, “deadly” meant “excellent” and is being employed here in that sense.
2Notably at the moment threats of demolition to the street market and historical site of Moore Street, part of the traditional music pub the Cobblestone and to the laneway at the Merchant’s Arch.
3In fact, Finglas’ in one of the communities acknowledged in the credits, the other being Loughlinstown.
4Police force of the Irish state.