Escape to Tranquility: ‘That They May Face the Rising Sun’ – A Cinematic Irish Serenade Awaits!

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In the strikingly beautiful new film by director Pat Collins, titled “That They May Face the Rising Sun“, the initial scene is a prolonged shot of an enchanting Irish lake, bordered by lush greenery and adorned with the sunrise. What immediately catches your attention are the sounds: birds chirping, wind whispering, gravel crunching underfoot. Set in the 1970s, this movie deliberately avoids the clamor of contemporary technology, both audible and symbolic. This isn’t a coincidence; Collins invites us to immerse ourselves in a time that moves at a leisurely pace, with soothing ebbs and flows, and a setting of untouched natural charm and tranquility.

In this tranquil Irish countryside, not much exciting occurs; instead, it’s a routine life as one resident puts it. This claim rings true, as the story unfolds with subtle drama and events barely stirring the peaceful rural atmosphere. Yet, this understated nature is not a flaw but a charm.

Titled That They May Face the Rising Sun, the film is reminiscent of Terrence Malick’s The Tree of Life minus its introspective leanings. The movie’s essence is tender, its tempo leisurely, and its insights deep yet poignant. It captures the intricacies of its characters’ lives and the connections they forge in a way that feels intimate and authentic. This film provides an immersive experience, offering temporary respite from modern life’s noise to convey that there is no beauty as profound as an ordinary existence.

From Big City London to the Quiet Irish Countryside

As a film aficionado, I’ve long admired Collins for his profound documentary work, such as the 2005 piece titled “John McGahern: A Private World“. In this third foray into fiction, his meticulous, contemplative approach resonates deeply. Nestled amidst the lengthy, pebbled roads and tranquil, mirror-like streams, we find Joe and Kate (brilliantly portrayed by Barry Ward and Anna Bederke). They’ve recently relocated to the village where Joe grew up, following a sojourn in bustling London, where Kate, an artist, shares ownership of a gallery.

In a casual and straightforward style: Joe serves as a writer, often found deep in thought looking out the window or jotting down ideas by hand. Meanwhile, screenwriter Eamon Little skillfully adapts the novel, drawing heavily from McGahern’s original text to maintain its essence. The young couple, Joe and Kate, appear to be the village’s most hospitable residents, frequently welcoming older villagers for tea and lending them a listening ear without prior notice.

This group of village elders is made up of men who appear to have been worn down by time, carrying tales of sorrow and the rare moments of happiness. Through them, various struggles and misfortunes gradually come to light. Bill (Brendan Conroy) bears an innocent burden – being born out of wedlock, a fact that has cast a shadow over his life with sadness. There’s also Jamesie (Phillip Dolan), whose brother Johnny (Seán McGinley) came back from London, finding himself in the humbling position of cleaning toilets.

The seasoned performers seemed as if they were native to the village, with none fitting the description better than Lalor Roddy, who portrayed Patrick. He was like a weathered old goat with a sharp tongue and a storehouse of bitter yet insightful wisdom. This unmarried man, played by a talented actor, had been relegated to being a handyman, resenting his rural lifestyle that had stripped away any pretense or decorum.

Gorgeous Images Are a Veritable Ad for Irish Tourism

Although it wouldn’t require significant work to portray the Irish countryside as breathtaking, cinematographer Richard Kendrick skillfully captures and presents stunning visuals that immerse us in this environment. Editor Keith Walsh maintains shots for extended periods, a decision that other editors might not make, thereby giving us a sense of life unfolding gradually which is crucial to the overall impact of the movie.

To put it simply, this movie isn’t so much about specific events as it is about evoking emotions. Characters enter and exit, and the drama ebbs and flows. The central plot revolves around Kate’s decision regarding a London gallery offer, but this doesn’t significantly propel the story forward, and it holds no greater significance than any other event involving the film’s rich tapestry of Irish characters.

This delicate, tender work titled “That They May Face the Rising Sun” carries a profound message in a gentle whisper. As Jamesie eloquently puts it, life is like rainfall, sunshine, growth, and change – the simple beauty of it all. However, this isn’t a statement of resignation; instead, it serves as a reminder that a richly lived life is one marked by connections, dedication, and routine.

Regarding happiness, Joe believes it can’t be actively pursued or fretted over; instead, it should be permitted to unfold at its own leisurely pace, often slipping by without our awareness if it ever arrives. Following his statement, Joe closes his eyes and visualizes the serene scenes of nature that bind us all together. After watching this movie, you might also find yourself doing the same.

On April 11, the film “That They May Face the Rising Sun” – a joint production of Cyprus Avenue Films and Harvest Films, distributed by Juno Films – will be available for viewing. Click here for further details.

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2025-04-06 03:03