The Gingerbread Men – Film Review
Director: Daire McNab
Starring: Elliot Moriarty, Kenneth Conway, Gillian Walsh and Louise Cargin
Released on DVD in September of this year, The Gingerbread Men is the second feature from independent Irish director, Daire McNab. It is an ambitious film that was made on a noticeably tight budget. This may put some audiences’ off, but film buffs will easily be able to see past these limitations. While sets are basic, locations limited and technology sub standard, the film itself still manages to sparkle. This is largely thanks to the very capable and often inspired direction, performances that range from good to great, and the charming fact that the film is very openly a labor of love.
Audiences are invited to relate to roommates Charlie (Moriarty) and Ken (Conway), a pair of Trinity students whose primary focus seems to be on getting laid. Whereas Charlie is very successful in this respect, picking up girls on an almost nightly basis, Ken can’t seem to connect with anyone. He is physically scarred from an accident involving a fire, which seems to have taken a massive toll on his confidence. When Charlie agrees to help Ken lose his virginity, he begins to view his own life in a different perspective, and also opens some emotional scars he long thought healed.
While the narrative is well written, it falls prey to being over-ambitious. The story is touching, and well told. However, it tries to cover a little too much ground and suggests to the viewer that it would function better as a series. Charlie and Ken’s other friendships, their relationship with their parents and, indeed, even their relationship with each other begs to be explored further. However, the focus is on the individuals themselves and their emotional journeys, and this just so happens to be the film’s greatest strength.
The way in which Charlie and Ken’s exploits parallel each other is wisely downplayed, for the most part. They aren’t necessarily polar opposites, though their views of the world are noticeably different. They are simply walking down two separate paths, the journey of one neatly complimenting the other. There is one particularly beautiful moment, when the parallel is most apparent, and both men hit rock bottom in the emotional gutter. At this point, both paths meet at a crossroads, and the developments that follow are both rhythmic and beautiful.
The performance of the two leads gives these scenes some emotional weight. Moriarty, as Charlie, seems to struggle at times during the earlier scenes, coming dangerously close to falling into an archetypal character, despite the brilliant dialogue he is given. He saves himself towards the films conclusion however, showing his strength in the more emotionally intense scenes. Conway, meanwhile, is simply terrific as the tragic clown figure that is Ken. He is almost cartoonish in his mannerisms, relentlessly optimistic, which makes his plight all the more touching. His performance would not be at all out of place in the parish of Craggy Island, lashing out one-liners that just about always hit their mark. A joy to watch, he steals the show as the central comic and heart of the film.
And it comes as a surprise that the film itself is actually quite funny. As a dark comedy, it isn’t gut-bustingly hilarious, but it is at least consistent. The banter between the leads provide most of the laughs, flowing quite easily and naturally, but the directors whimsical side permeates the film also. This can be seen in the little details, often in the background, or in even in the way a character is depicted (i.e. a prostitute is described as a promiscuous rabbit…which makes sense in context).
The rest of the cast also do a decent job, performing their roles capably. Walsh, as Nicole, has good chemistry with Charlie, but is weighed down by a French accent that only sometimes sounds authentic. Cargin’s character, Marie, fares much better, altering aspects of her character to suit the scenes she is in. She is reserved and dignified when we first encounter her, but slowly becomes a different person as the film draws to a close. There is a indication here that she may well go a long way, once she is discovered.
As mentioned, the technical limitations are noticeable, but really shouldn’t detract from audience enjoyment of the film. McNab proves himself very adept with the camera, a natural auteur. It’s hard to complain about the sub-standard quality of film, when the camera pans lazily over Dublin city as seen by two lovers, or the barren shore-line that is home to broken men. And while the refusal to explore Charlie and Ken’s other relationships further can be somewhat unsatisfying, it will take a heart of stone not to be in any way moved by the films poetic final scenes.
Score: 3/5
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