JACK TAYLOR: PRIEST

Ireland/Germany, 2012, 90 minutes, Colour.
Iain Glen, Nora- Jane Noone, Killian Scott, John Kavanagh.
Directed by Stuart Orme.

Priest is the fifth in the Jack Taylor series. (See the introduction to Jack Taylor: The Dramatist). Once again, it presupposes characters and situations from the previous films. This is particularly the case with memories of Jack’s mother, her friendship with father Matt Leckie Malachy.

This is very topical film.

The films are based on novels by Frank Bruen set in Galway. They are particularly Irish in subject and tone. Jack Taylor is a former Garda officer who takes on investigative jobs. He is a drinker and a fighter as played by Iain Glen. Priests appear throughout the films, especially at funerals. But, the parish priest, Fr Malachy, appears in most of the films. He is a friend of Jack, a large man and an inveterate smoker which many characters comment on. It emerges that he is a close friend of Jack’s mother who, it turns out, is a former Magdalen girl working in the laundries. Jack is not close to her but Fr Malachy brings them together. Jack is investigating murders associated with a cruel nun at the laundry in the 1960s and his mother gives him a name. They reconcile, somewhat, and Jack tends her when she has a stroke. In the next film, The Dramatist (2012), she dies and Fr Malachy explains that he loved her, platonically. He asks Jack whether he thought he had an affair with his mother. When Jack said he did suspect, Fr Malachy makes the strong point that people, these days, don’t think of decency with priests.

This is to the fore in Priest. It reflects many of the headlines in Irish media when news of sexual abuse broke and stories proliferated. This film includes several issues in 90 minutes, which many audiences would have identified with. While it is condemnatory of the clergy behaviour and failures in reporting to authorities, the screenplay does not labour this but takes the audience into some of the dire consequences of abuse.

Fr Malachy appears again after an elderly priest is decapitated in the church as the film opens. Fr Royce was an abuser and Fr Malachy, his assistant twenty years earlier, admits he was present at some of the abuse and delayed reporting, saying he was trained to be obedient to his parish priest, that these were church matters and that he answered to a higher authority. This lack of reporting because clergy thought the abuse was sin rather than crime became a key concern in government inquiries in Ireland and in other countries. Receiving a threatening note, Fr Malachy fears for his life and he is attacked and stabbed. He has tried to help the victims and regrets his behaviour in different times.

But, the film’s main focus on priests is Fr Royce, the decapitated priest. It soon emerges that he had abused at least two altar boys. The experiences are glimpsed in the adult victim’s memory flashbacks, mostly suggested but truly alarming in John Kavanagh’s performance as Royce, his predator look, his callous words, his grooming and seductive language in persuading the boys that these experiences were important for them, his crass descriptions and conscienceless controlling. Some time after the abuse, he was transferred to Boston (reference to the main US diocese with a bad history of abuse).

As if this were not bad enough, more is revealed towards the end of the film. A nun in the parish wanted to stop Fr Royce. She goes with Fr Malachy and accosts him in the sacristy. Royce is callously defiant – and rapes the nun. Audiences will be revolted at this reminder that rape is about sex but more about power. The sister has to leave the convent in shame and gives birth to a son. Fr Royce comes back, terminally ill, for the funeral of a family member, visits his victim and says he is asking her forgiveness. Her son hears this and it is he that kills the priest after they talk about his mother in the church.

The screenplay has other intricacies: the two boy victims (who watched the rape through the keyhole) have been damaged. They raped the nun’s twelve year old son as revenge on Royce. One, who held the boy down, is an addict and is killed. The other is a highly successful businessman with a family but who preys on boys, repeating the grooming phrases that Royce had used to try to persuade him.

The screenplay reminds audiences of the true sordidness of the abuse and some of the dreadful consequences. As a film showing some of these realities, this is a key film about priests and sexual and power abuse.

1. The fifth film in the series? Development of Jack Taylor’s character? The presence of Kate, the presence of Cody? Father Malachy?

2. The Galway settings, the church, the streets, the pubs, business offices, homes, ruins? Authentic feel? The musical score?

3. The title, the emphasis on Father Royce? Father Malachy and his role?

4. The topical nature of the plot, sexual abuse in the church in Ireland? Investigations? The law? The church and its role, considering abuses sin rather than a crime? The change in perceptions?

5. Jack, drinking again, the death of his mother, friendship with Kate, her being warned off working with him? Investigating with her? Friendship with Cody, Cody wanting a case? Working with Jack? The meeting with ruler, attracted to her, the drink, who will get his phone? Jack and his going to do is house, the night, getting information, puzzling about her relationship with her brother? Father Malachy coming to him with the note, asking him to investigate?

6. Father Royce, the scenes with the two boys, grooming and seduction, his callous behaviour, hitching up his trousers, the arrival of Father Malachy and Sister Joseph? The confronting him, his raping Sister Joseph, Father Malachy and his inability to do anything? The boys watching through the keyhole? Father Royce later being transferred to Boston? His return, the illness in the family, his going to see Una Tracy, her reaction, her son not knowing the truth? Inviting Una to the church, Christian going, meeting his father, their talk, Father Royce and his prayer, after asking Una to forgive him? His death? Decapitation? The cleaner discovering the body? The visit of Jack and Cody, the police?

7. Michael, as a victim, his going to therapy, the influence of his sister, his wife and children, the promotion of his company, the visuals, the meeting, his sister present? The later meeting and the deal by Skype? Jack’s intrusion? Jack’s meeting with him, telling him that he knew the truth? Michael not denying it?

8. Tom, imprisoned for raping Christian, drugs, the goods that he received, Michael supporting him financially, the thieves outside, Jack interrogating them, hitting them?

9. Tom, the drugs, the injection, his death? Jack and Cody present, the neighbours reporting the death, Kate’s arrival?

10. Michael, memories of the past, the flashbacks? Sexual proclivities? Following Peter, talking, giving him a lift, taking him to the ruins, the proposition, Peter getting out of the car?

11. Nuala and Jack arriving, trying to talk him down, his attack on his sister, on Jack, falling to his death, their saving Peter?

12. Sister Joseph, leaving the convent, not telling anyone, shame? Giving birth, bring her boy up, the situation of the rape – and her knowing the truth? Jack’s visit, defending her son, his studies, maturing? His listening in? His hearing Father Royce, going to the church, the murder? His killing Tom? Stabbing Father Malachy? Going to the family, threatening them with the knife, wanting Michael present? Cody going in, overpowered by Christian, urging Michael’s wife to look Christian in the eye, Christian dropping the knife?

13. Michael, hiring the assassin, the attempts on Jack, especially in the pub, his being saved by the bartender, getting the information, telling Kate?

14. Nuala, her influence on her brother, knowing about the abuse, getting him to therapy, advising him on business, the sexual attraction, her room with all the photos? Jack persuading her to come with him, confronting Michael?

15. A satisfactory mystery – with very hard themes?