If you've seen the huge face of Cate Blanchett staring concernedly at
you from a paper or a train station hoarding lately, don't be confused,
she's not in Les Mis in the West End, and she's not a new novel. She's
Veronica Guerin, the Irish journalist brutally murdered on June 26 1996
in the course of her probing investigative work on Dublin's heroin barons.
If you're Irish, the film informs us, you'll remember where you were when
you heard the news of Veronica's death. A journalist for the Dublin Sunday
Independent, she was primarily known for her exposure of scandals in the
catholic church until, in the mid-nineties, she stumbled onto what she
considered a far more important issue. Making known criminals her sources,
she began to write about the antics of the local gangsters responsible
for heists, murders, and the fact that in 1994 15,000 people a day in
Ireland injected heroin. Unsurprisingly, this is a tale of how, as she
looked deeper into the world of the über-dealers, she also got deeper
and deeper into trouble.
Cate Blanchett's is a sympathetic portrayal of a very complex character.
Guerin was clearly a very intelligent and tenacious woman, yet like many
a crusader, so determined was she to bring the baddies to justice and
help their victims that she neglected and endangered her family in the
process - brushing their concerns for her and their safety aside with
the fey naivety of one who really believes that 'no-one shoots the messenger'.
The risky combination of feminine wiles and schoolmistress sternness she
employed upon her psychopathically dangerous criminal prey seems about
as sensible as a time-bomb; her fiercely confident attitude, even in the
face of severe personal injury and threat from aforementioned villains,
may have concealed her fear but could never have been enough to protect
her. But we do not, after all, expect that she will be protected. From
the outset we are reminded of the fact that this is the story of a real
person, who is already really dead, and who will be dead again by the
end of the film. Here is a martyr in the war on drugs, as Guiseppe Conlan
was a martyr in the misguided British war on the Birmingham 6 (cf. that
other real-life northern Irish tale, 'In The Name of The Father'
- which, incidentally, also features the soundtrack appearance of the
hallmark 'harrowing Irish film' voice of Sinéad O'Connor). After
the painfully sad but inevitable finale, the filmmakers (producer: Jerry
Bruckheimer - 'Pearl Harbour', 'Black Hawk Down'; director: Joel Schumacher
- 'Falling Down', 'Phone Booth'; screenplay: Carol Doyle and Mary Agnes
Donoghue) are quick to reassure us through stats-laden subtitles that
her death was not in vain, since the public outrage at her killing prompted
the Irish government to reform the laws previously enabling supercriminals
to live in the country in tax immunity, and to imprison (most of) the
people Veronica was trying to catch. Not all is victory, however, as perspective
is restored by the grim figures on the numbers of journalists killed in
the course of their work in the year following Veronica's death.
'Veronica Guerin' is an occasionally grating mix of gritty realism - real
accents (well done Blanchett), real people, real grim industrial landscapes
(cf. the crap faux-Oirishry so often seen in American depictions) - and
the kind of Hollywoodized gangster action interspersed with light cliche
which has you weeping at the finale to a child's rendition of 'The Fields
Of Athenry'. Nevertheless, some big Hollywood filmmakers have restrained
themselves more than usual here, got together with some good Irish/English
actors and screenwriters, and produced an excellent version of one extremely
courageous woman's story.
Su Jordan, 02.08.03
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