The Problem With People

A film about Ireland, written by an American. We all know it when we see it. There’s the camera now, drifting across the water to a lush green shore. There’s the tinkle of traditional music. Ciáran (Colm Meaney) stands outside his house having a smoke, looking up to see a rainbow forming over the lake. Then abruptly, it starts pissing it down, and one realises that this particular American might understand something about Ireland after all.

He is Paul Reiser, and we’ll see him soon enough, as he not only co-wrote (with Wally Marzano-Lenevich), but he stars in the film, playing Ciáran’s long lost cousin Barry. There’s been a rift in the family, you see, and Ciáran’s miserable old father (Des Keogh), who insists he’s on his deathbed, wants to see it reunited whilst he still can. At his insistence, Ciáran phones Barry and persuades him to visit. The neighbours are delighted by this exotic stranger, and a celebratory mood soon develops – but alas, it’s short-lived. When the old man does pass away, and leaves half of his estate to Barry, Ciáran’s initial goodwill gives way to suspicion. Soon there is not only a rift within the family, but within the village, as everybody picks a side.

There’s plenty here that’s by the book, from the playful stereotyping of some of the villagers to the founding of the family feud in a dispute over a red-headed woman, but it’s well played, and the American proves a little wilier that most of his archetypal predecessors, giving as good as he gets when Ciáran tries to break with his father’s promises. Subplots concerning Ciáran’s ex-wife (Lucianne McEvoy) and Barry’s daughter (Jane Levy) are so predictable that they’re rushed through at the end with no need to play them all the way out, but the characters still come through clearly enough, and the film makes sure to nip some of the more tedious clichés of the film in the bud.

Overall, the pace is gentle. A few faster-paced gags, like the old man flicking through news channels finding nothing but misery and violence, might leave you wanting more, but the focus is really on character and Reiser and Meaney have a great rapport. Underlying the comedy there’s a touching exploration of grief and of the toll taken by serving as a carer for a long time. It gives the film heart and much-needed gravity so we can understand the strength of feeling behind the various conflicts, even when it’s the pettiness of the characters’ behaviour that drives the story.

Essentially sweet-natured, despite all the bickering on display, this is unlikely to set the box office alight but it’s a pleasant way to spend an evening.