Sgt. Gerry Boyle (Brendan Gleeson) of the Galway Garda is
not your conventional police officer. Indeed, this fact becomes instantly
apparent during the film’s opening scenes, where we accompany this bungling,
idiosyncratic cop on a callout. It’s here, amongst the wreckage of a recent
traffic incident, that we first encounter Boyle’s morally dubious approach to law
enforcement. As he frisks the bodies of this tragic accident’s casualties, he
nonchalantly pockets a stash of hallucinogenic drugs, perfectly setting the
tone for this facetious tale. Set against a backdrop of a jovially backward
community and the contentious behaviour of its loveably wayward protagonist, it
becomes instantly apparent that The Guard is certainly not your usual crime
thriller.
Boyle soon finds his quiet little parish has become a
bustling centre of attention after the investigation of a murder with ‘occult
overtones’ escalates far beyond his jurisdiction, leading to a FBI
investigation into a huge cocaine smuggling operation rumoured to be taking
place just off the coast of this sleepy town. Straight-laced FBI agent, Wendell
Everett (Don Cheadle) is given the arduous task of organising this operation,
and soon finds himself paired up with the unscrupulous and opinionated Boyle in
an irregular working relationship which must overcome its seemingly
inappropriate union (and Boyle’s droll subversive jokes) if their mission is to
be a success…
This gloriously enjoyable film truly belongs to Glesson.
Whether he’s indulging himself with prostitutes and narcotics, bickering with
members of the IRA, provoking racially fuelled disputes with Everett, or
comforting his dying mother with humorous stories about brothels and amyl
nitrate, it becomes near impossible not to be left completely spellbound by
this tour-de force performance. There’s barely a scene where Glesson isn’t
present, and in the few moments he is absent, you find yourself impatiently
waiting for his return, anxious for another dose or his superbly delivered wit
and subtly comedic mannerisms.
The character of Boyle is deceptively complex, a fact
apparent from his roguish charm, which manages to enrapture the audience
despite his philandering ways. Not only is this a tribute to Glesson but also
the remarkably natural and often hysterically funny dialogue. From Boyle’s
apparent knowledge of the FBI gleaned solely from watching popular US television
shows like C.S.I, to his unrelenting racial attacks on everyone from the
British to the Mexicans, and almost every nationality in-between, the film’s
engrossing script means the pace never lags. Jammed full of memorable
one-liners and endearing laugh out loud scenes, this vivacious and
unforgettable comedy’s uncomplicated facade hides a much deeper movie which
you’ll be forgiven for not expecting. Indeed, The Guard is a film which
impressively manages to mould its own unique identity.
Director and screenwriter John McDonagh is also due much of
the praise for this remarkable film. Without his whimsical direction, this
otherwise generic action-comedy hybrid would surely have failed to deviate from
the usual stigmas that often plague this amalgamation of genres. Whilst his
impressive ear for dialogue (thanks to his Irish heritage) may be the most
noticeable weapon in his arsenal, he also does a remarkable job of presenting
the surrounding Irish landscape, with Boyle’s sleepy town soon feeling like a
home away from home. Shot entirely on location, each set piece occurs in a
natural, yet endearingly quirky surrounding, creating a realistic but visually
stimulating backdrop for the action to unfold.
The Guard is as close to perfection as you could expect from
a low budget independent movie, yet there are a few minor flaws which hold the
film only inches away from becoming an all time classic. The peripheral
characters are sadly overshadowed by Glesson’s magnificence, which considering
the quality waiting in the wings is mildly disappointing. Liam Cunningham and
Mark Strong are two of the most unsung actors currently working and to see
their roles reduced to mere comedy villains is mildly discouraging, yet you’d
be hard pressed to find anyone prepared to sacrifice Glesson’s screen time to
allow for the development of the supporting cast.
Deep down, The Guard is something of a clandestine
examination about social integration. The film’s continued collision between
cultures wonderfully depicts the way in which our world is ever changing. Yet,
despite the constant battles between races, personalities and socio-economic
groups, the film’s confrontational yet surprisingly accepting approach to this
climate of change is a subtle eye-opener to the varying attitudes accompanying
this progression.
Unfortunately, the Guard’s risqué approach to comedy will
probably prevent it reaching a larger audience. Yet it’s fantastic balancing
act between black humour, thrilling action and genuine emotion (all achieved so
effortlessly) makes it one of the year’s most enjoyable films – and one you’ll
find yourself desperate to submerge yourself in time and again.
