I dislike most of what I call “green beer” St. Paddy’s Day music, but this one is an exception. My dad used to sing “Who Threw the Overalls in Mrs. Murphy’s Chowder” on St. Paddy’s Day and also whenever my mom made her awesome white clam chowder. Coincidentally, the lady who lived across the street was named Mrs. Murphy and my dad had convinced me that the song was written about our neighbor. Why not?
Now, Mrs. Murphy was lovely, but her husband was a different cat altogether. I myself would have gladly thrown my overalls in that old geezer’s chowder. Never did I get even a ‘hello’ from Mr. Murphy, even when hand-delivering his Sunday newspaper.
The Murphy’s only child Margaret was a rare thing, “fine as a beeswing” as Richard Thompson would say. Even in grade school, she was ethereal and somewhat precocious. I remember once Margaret informed me that female kangaroos “have bosoms.” I think I was in 3rd grade and didn’t have the slightest clue what the fuck she was talking about. (I did know what a kangaroo was.)
Margaret died far too young, bless her soul.
Mr. Desautel lived across the street from the Murphys, and that old bastard was so mean, he made Mr. Murphy look like Fred Rodgers. Mr. Desautel once challenged the Ice Cream Man to a fistfight because a few popsicle wrappers had blown onto his lawn. (I did witness Dougie Neederlitz brazenly toss his popsicle wrapper, though I didn’t rat him out.) Mr. Scotti, our ice cream truck driver, would’ve volunteered to throw Mr. Desautel’s overalls into the chowder with Mr. Desautel still wearing them.
“Who Threw the Overalls in Mrs. Murphy’s Chowder” was written by George L. Geifer way back in 1898. Bing Crosby had a hit with it in 1945. I prefer the Maxwell Sisters performing the song in this short film (above) from the late 1940s.
Colin Farrell, himself part of some absolute bangers, names the one film that he views as flawless. Read more about the movie and its significance.
By Jacob Simmons
It hasn’t always been smooth sailing for Colin Farrell, but he’s managed to navigate a string of potential career-enders and come out the other side as a respected and sought-after actor. Long before donning a fat suit and putting on a questionable mob accent, the Irishman was delivering standout performances in critically acclaimed films. In Bruges, The Killing of a Sacred Deer, The North Water, The Banshees of Inisherin—all beloved by legions of devoted fans. But has Farrell ever made a ‘perfect’ movie?
Colin Farrell
According to the actor himself, he hasn’t. That’s because, in his eyes, there’s only one ‘perfect’ movie, and he’s not in it. When speaking with Rotten Tomatoes about some of his favourite films, Farrell gave some great answers. Back to the Future, Some Like It Hot, and Lawrence of Arabia all came up, but he reserved his highest praise for Bruce Robinson’s definitive black comedy, Withnail and I.
“Oh man, is there a funnier and more poignant film that captures the anarchic irreverence of that period?” he posited. “It’s just perfect, from start to finish, in my book. Ridiculously quotable with mad, perfect performances across the board. Richard E Grant is pure genius, but everyone in the film gives amazing and hilarious and heartbreaking performances. Again, I think loneliness and isolation, and a desire to belong play big parts in this one. The story is as much a love story between the two leads as anything, with a very sad break-up of sorts taking place at the very end, with Withnail left out in the rain.”
Released in 1987, the film tells the story of Withnail (Grant), a spiteful, hard-drinking, out-of-work actor who blames all his problems on anyone but himself. He and his friend Marwood (Paul McGann), who is credited by some as the eponymous ‘I’, end up at the country estate of his eccentric uncle (Richard Griffiths), where the limits of their friendship are tested.
Much has been written about the movie, which has its fair share of famous fans, particularly about the relationship between the two central characters. Much has been over whether or not Withnail and Marwood are secretly in love with each other or if the former’s affection is unrequited by the latter. The ending scene that Farrell mentioned, in which Marwood leaves his old roommate after finding work, is often cited as confirmation of this. However, it has to be said that Grant prefers the theory that Withnail is too self-obsessed to be in love with anyone but himself.
Even after decades in the limelight and countless other excellent roles, Withnail continues to be Grant’s most enduring and celebrated character. The film is one of the most popular cult movies around (if that’s not too much of an oxymoron), with fans going out of their way to find new ways to celebrate. There’s even an accompanying drinking game; drink every time Withnail does. For the love of God, do not attempt this yourself. You will not survive.
Somewhat surprisingly, Farrell has never co-starred with Grant in anything. The two actors would be a perfect fit for each other, and Farrell would most certainly be up for collaborating with a hero of his. If any casting directors are reading this, you know what needs to be done.
I dislike most of what I call “green beer” St. Paddy’s Day music, but this one is an exception. My dad used to sing “Who Threw the Overalls in Mrs. Murphy’s Chowder” on St. Paddy’s Day and also whenever my mom made her awesome white clam chowder. Coincidentally, the lady who lived across the street was named Mrs. Murphy and my dad had convinced me that the song was written about our neighbor. Why not?
Now, Mrs. Murphy was lovely, but her husband was a different cat altogether. I myself would have gladly thrown my overalls in that old geezer’s chowder. Never did I get even a ‘hello’ from Mr. Murphy, even when hand-delivering his Sunday newspaper.
The Murphy’s only child Margaret was a rare thing, “fine as a beeswing” as Richard Thompson would say. Even in grade school, she was ethereal and somewhat precocious. I remember once Margaret informed me that female kangaroos “have bosoms.” I think I was in 3rd grade and didn’t have the slightest clue what the fuck she was talking about. (I did know what a kangaroo was.)
Margaret died far too young, bless her soul.
Mr. Desautel lived across the street from the Murphys, and that old bastard was so mean, he made Mr. Murphy look like Fred Rodgers. Mr. Desautel once challenged the Ice Cream Man to a fistfight because a few popsicle wrappers had blown onto his lawn. (I did witness Dougie Neederlitz brazenly toss his popsicle wrapper, though I didn’t rat him out.) Mr. Scotti, our ice cream truck driver, would’ve volunteered to throw Mr. Desautel’s overalls into the chowder with Mr. Desautel still wearing them.
“Who Threw the Overalls in Mrs. Murphy’s Chowder” was written by George L. Geifer way back in 1898. Bing Crosby had a hit with it in 1945. I prefer the Maxwell Sisters performing the song in this short film (above) from the late 1940s.
And speaking of films – here are my Top 10 Irish movies:
Ryan’s Daughter” (1970 David Lean)
– Critics hated it, the cast hated each other. David Lean was so traumatized by the experience, he didn’t make another movie for 15 years. I love every fame, especially the ones featuring the Dingle shore. Maurice Jarre composed the soundtrack which featured the memorable “It Was a Good Time (Rosy’s Theme)”
“In Bruges” (2008 Martin McDonough)
– Great performances from Brendan Gleeson, Colin Farrell, and Ralph Fiennes. McDonagh’s dialogue is raw, often hilarious and sometimes pure poetry.
“I Went Down” (1997 Paddy Breathnach)
– This hilarious road movie was my first taste of actor Brendan Gleeson, who might be my favorite actor in the world.
“The Quiet Man” (1952 John Ford)
– On my first trip to Ireland, a bank teller in Dublin told me I spoke “just like John Wayne.” Though not at all true, this remains the best compliment I’ve ever had.
“The Commitments” (1991 Alan Parker)
– Maybe not the best of Roddy Doyle’s Barrytown Trilogy books (I loved “The Van”), it is certainly the best film adaptation mainly because of the amazing musical performances by a truly great soul band created for the film.
“The Magdalene Sisters” (2002 Peter Mullen)
– Excellent film on the subject of Catholic Church abuse in Ireland. Be prepared to become very angry.
“In America” (2002 Jim Sheriden)
– Beautiful biographical story of Sheriden’s immigration from Ireland to NY’s Hell’s Kitchen in the sixties. Two sisters age 6 and 11, Emma and Sarah Bolger, acting for the first time, steal the movie. The movie concludes with The Corrs singing “Time Enough for Tears,” one of my favorite Irish songs.
“The Butcher Boy” (1997 Neil Jordan)
An Irish “A Clockwork Orange,” complete with Sinead O’Connor as the Virgin Mary (Sinead sings a great version of the folk song of the title.) Very disturbing.
“Finian’s Rainbow” (1968 Francis Ford Coppolla)
Despite the talents of Fred Astaire, lyricist Yip Harburg, and Francis Ford Coppolla – this thing was a mess. Still, worth it if only for Petula Clark singing, “How are things in Glocca Mora?”
“The Banshees of Inisherin” (2022 Martin McDonough) My choice for ‘Best Picture’ in 2022. Outstanding performances from Gleeson, Colin Farrell, Kerry Condon and Barry Keoghan.
Honorable Mentions: The Guard, Waking Ned Devine, Once, The Field, The Snapper, The Crying Game, My Left Foot, Cal, In the Name of the Father, Secret of Roan Inish, Philomela, The Van, The Boxer, Hear My Song, The General, Into the West
Banshees wins best British film, and director Martin McDonagh explains that though it is Irish-made with Irish cast and crew, it is funded by Film4
By Donald Clarke
Kerry Condon accepts the best supporting actress award for The Banshees of Inisherin during the 2023 Bafta Film Awards in London on Sunday. Photograph: Stuart Wilson/Getty Images for Bafta
Martin McDonagh’s The Banshees of Inisherin has won four Baftas – British Academy Awards – during a glossy, if occasionally ramshackle, ceremony at the Royal Festival Hall in London.
Kerry Condon, from Tipperary, and Barry Keoghan, from Dublin, took the prizes for, respectively, best supporting actress and best supporting actor. Banshees also took best British film and best original screenplay.
But, in a surprise, Austin Butler beat Colin Farrell to best actor for his turn as the king of rock ‘n’ roll in Baz Luhrmann’s Elvis. The biggest winner of the evening was, however, Edward Berger’s All Quiet on the Western Front. The adaptation of Erich Maria Remarque’s anti-war novel topped the Bafta charts with seven gongs, including wins in best picture and best director.
The wind looked set fair for Banshees when, in one of the first awards of the evening, Condon shuffled past the likes of Jamie Lee Curtis and Angela Bassett to grab her first Bafta. That was a mild surprise.
Oddsmakers were still more taken aback by Keoghan beating out Ke Huy Quan, a huge favourite at the Oscars, for Everything Everywhere All at Once.
Condon acknowledged the late Alan Parker, who gave her an early film role in Angela’s Ashes. “I have to thank my family in Ireland,” she said. “They were always at the other end of the phone for me all through the years… And I have to thank my horses and my dogs because they showed me so much love and gave me so much meaning in my life.”
Audiences watching on the delayed TV broadcast did not see the awkward moment when Carey Mulligan was wrongly announced as the winner over Condon. The mistake was quickly corrected, but this was an embarrassing moment for the British Academy. Interviewing Condon backstage, Alison Hammond, co-presenting with Richard E Grant, did not even mention the incident.
Barry Keoghan accepts the best supporting actor award for The Banshees of Inisherin during the 2023 Bafta Film Awards in London on Sunday. Photograph: Stuart Wilson/Getty Images for Bafta
Keoghan, who received an ecstatic response from the audience, acknowledged his late mother and those from north inner-city Dublin seeking to follow in his footsteps. He noted “the kids dreaming to be something from the area that I came from. This is for youse.”
Most pundits would have seen Farrell as a more likely winner than either of the two supporting players in Banshees. The team will be happy with the unexpected wins, but disappointed they could not convert in best actor and best film.
McDonagh confirmed he was a smooth performer at the lectern with a brace of witty speeches. “Thank you Bafta for this British film award,” he said. “I know every Irish person in the cast and crew were kind of going ‘best what?’ But the wonderful Film4 were a big part of financing this… Thanks to Rosie our stand-in donkey, who is British. She’s from Stoke-on-Trent.”
Colm Bairéad’s delicate An Cailín Ciúin, on a sensational run since its premiere at the Berlin Film Festival a year ago, lost out to the all-conquering All Quiet on the Western Front in two categories. Berger’s epic beat the Irish-language film to both best adapted screenplay and best film not in English. An Cailín Ciúin now goes on to compete for best international film at the Academy Awards.
There was Irish success elsewhere. Richard Baneham from Tallaght, already an Oscar winner, was among the team taking the best visual effects prize for Avatar: The Way of Water. He was first on stage to thank the audience in Irish.
Tom Berkeley and Ross White’s An Irish Goodbye, a delightful Northern Irish comedy concerning brothers squabbling after their mother’s death, won best British short and now looks like a decent favourite for an Oscar. “If we forgot to thank our mums there would not be any tea on the table,” Berkeley joked.
There were no surprises in best actress with Cate Blanchett continuing her triumphant run for playing a troubled, mendacious conductor in Todd Field’s much-admired TÁR.
The British Academy of Film and Television Arts and their American equivalent, which decides the Oscars, share a significant number of voting members. These results can thus give reliable pointers to the awards that matter most. To this point, best actor was seen as a three-horse race between Farrell, Butler and Brendan Fraser for The Whale.
Notwithstanding McDonagh’s dry remarks about the cross-national nature of The Banshees of Inisherin, the team will have seen Bafta as something of a home event. Farrell does seem to have lost ground to a fast-rising Butler. Oscar watchers will now turn their eyes to the Screen Actors Guild awards next weekend.
If Butler wins there, the game may be up.
BEST FILM: ALL QUIET ON THE WESTERN FRONT, Malte Grunert.
OUTSTANDING BRITISH FILM: THE BANSHEES OF INISHERIN, Martin McDonagh, Graham Broadbent, Pete Czernin.
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER: AFTERSUN, Charlotte Wells (Writer/Director)
FILM NOT IN THE ENGLISH LANGUAGE: ALL QUIET ON THE WESTERN FRONT, Edward Berger, Malte Grunert.
DOCUMENTARY: NAVALNY, Daniel Roher, Diane Becker, Shane Boris, Melanie Miller, Odessa Rae
ANIMATED FILM: GUILLERMO DEL TORO’S PINOCCHIO, Guillermo del Toro, Mark Gustafson, Gary Ungar, Alex Bulkley.
DIRECTOR: ALL QUIET ON THE WESTERN FRONT, Edward Berger.
ORIGINAL SCREENPLAY: THE BANSHEES OF INISHERIN, Martin McDonagh.
ADAPTED SCREENPLAY: ALL QUIET ON THE WESTERN FRONT, Edward Berger, Lesley Paterson, Ian Stokell.
LEADING ACTRESS: CATE BLANCHETT, Tár.
LEADING ACTOR: AUSTIN BUTLER, Elvis.
SUPPORTING ACTRESS: KERRY CONDON, The Banshees of Inisherin.
SUPPORTING ACTOR: BARRY KEOGHAN, The Banshees of Inisherin.
ORIGINAL SCORE: ALL QUIET ON THE WESTERN FRONT, Volker Bertelmann.
CASTING: ELVIS, Nikki Barrett, Denise Chamian.
CINEMATOGRAPHY: ALL QUIET ON THE WESTERN FRONT, James Friend.
EDITING: EVERYTHING EVERYWHERE ALL AT ONCE, Paul Rogers.
PRODUCTION DESIGN: ALL QUIET ON THE WESTERN FRONT, Christian M Goldbeck, Ernestine Hipper.
COSTUME DESIGN: ELVIS, Catherine Martin.
MAKE UP & HAIR: ELVIS, Jason Baird, Mark Coulier, Louise Coulston, Shane Thomas.
SOUND: ALL QUIET ON THE WESTERN FRONT, Lars Ginzel, Frank Kruse, Viktor Prášil, Markus Stemler.
SPECIAL VISUAL EFFECTS: AVATAR: THE WAY OF WATER, Richard Baneham, Daniel Barrett, Joe Letteri, Eric Saindon.
BRITISH SHORT ANIMATION: THE BOY, THE MOLE, THE FOX AND THE HORSE, Peter Baynton, Charlie Mackesy, Cara Speller, Hannah Minghella.
BRITISH SHORT FILM: AN IRISH GOODBYE, Tom Berkeley, Ross White.
