BROKEN

UK, 2017, 6X 60 minutes, Colour.
Sean Bean, Muna Otaru, Mark Stanley, Aine Ni Mhuri, Paula Malcolmson, Naomi Radcliffe, Aisling Loftus, Adrian Dunbar, Anna Friel, Thomas Arnold, Ned Dennehy.
Directed by Ashley Pearce, Noreen Kershaw.

Broken (d. Ashley Pearce, Noreen Kershaw) was written by Jimmy Mc Govern, a priest follow-up to his 1995 film, Priest, already considered as a key film of the 1990s. At the time of Priest, Mc Govern was reconsidering his belonging to the church, a recovering Catholic. With Broken, he is in admiration of contemporary priests and their ministry.

As with Priest, the series ends with a significant Mass and the congregation coming to Communion. Key characters attend the funeral Mass for the mother of Fr Michael Kerrigan (a significantly powerful performance by Sean Bean). There has been pastoral support for each of them, not without some harrowing difficulties. And each of them, as they receive the host, declare to him, ‘Wonderful priest’. This was not expected by Michael or by us.

Broken is a significantly Catholic series. Some bloggers felt disturbed by some of the dialogue thinking that it could not have been written by a Catholic. It was. And it is profoundly Catholic, not in the older restrictive perspectives but pastorally relevant in the contemporary world. At times, Michael does have some outbursts: encouraging a mother concerned about pregnancy with remarks that the Blessed Virgin Mary had it easy in conceiving. This connects with a later, more vigorous outburst at Mass about the Church’s statements over centuries derogatory of women, of fear and ignorance of women’s bodies, fear of menstrual blood on the altar – and no wonder that the decisions are against women’s ordination. He pleads for women priests, women bishops, a woman Pope. It can be noted that there is an advisory credit to a Jesuit priest and that details are very accurate, current translation of Mass texts, vestments, background hymns, Mass celebration, confession and the seal, communion, anointing of the sick and dying.

Michael Kerrigan is a hardworking Liverpool parish priest in a working-class parish. He is in his later 40s. He has a strong sense of the pastoral church, his horizons local (only a fleeting reference to the bishop) and getting support and discernment from a fellow-priest (Adrian Dunbar), able to visit him at any time to raise issues and to pray. It is this friend who, at the end, when Michael is tempted to give up on the priesthood after his mother’s death, encourages him to stay and notes, Fr Michael is able to forgive everyone but finds it hard to forgive himself.

The expected themes are raised directly and frankly. We get a good idea of the strength of Michael’s faith and commitment as a priest, his taking for granted his pastoral role and the need for listening and for personal presence. Faith and commitment are a journey, not quickly achieved. His life can be lonely, alone in the presbytery – prayer and some support in a drink. He is a committed celibate (while regretting and still retaining some guilt and shame about his teenage treatment of young women, exploiting them while condemning them as sluts for having sex with him.) He is propositioned by a desperate woman planning suicide. He is challenged by a gay man as to whether he ever wondered about his sexual orientation (and Michael admits that he felt suicidal) and whether as a celibate, he has a wank. Michael respects the authorities in the church but they do not impinge very directly on his day-to-day life.

Considering the worldwide loss of respect for the Church, especially in the Western world, the seeming lack of credibility in stances on sexual morality, the scandals of clerical sexual abuse, Jimmy McGovern? offers a convincing portrait of a good priest.

In the six episodes of the series, Mc Govern raises contemporary social issues, very much akin to the films of Ken Loach like I, Daniel Blake, identifying with ordinary people and experiences of oppression, treatment by authorities, and social problems of addictive gambling, mental health, homophobia.

And Michael has problems from his past. These are featured in flashbacks which occur during the Mass, during the consecration of the wine. They grip Michael’s memory and imagination, making him pause, struggling to get out the words. He has sad memories of his father, of his mother being harsh and criticising him, of stealing money at school. But he also has memories of a predatory priest, of changing rooms and class rooms, of the exhilaration of listening in class to Gerard Manley Hopkins’ ‘The Windhover’, as well as talking about literature while the priest touches his leg under the desk.

There is a powerful flashback when the young Michael has given up church practice and he encounters a man who has trained and flies a hawk. A crowd watching disperses when the hawk does not return as promised. Michael waits – and it does return. And, he says, I was back in the Church. The power of the windhover.

One of the most dramatic sequences shows Michael tracking down the now former priest-abuser, an older man, coming home from his shopping. He is callous in his answers, self-defensive in mitigating his behaviour (especially since notes Michael had successfully become a priest), in not really caring about what he had done and its effect on the boys. Michael’s explosive denunciation, angrily heartfelt, the culmination of years of tormented memory is a dramatic highpoint – one that could be seen on its own in the context of discussions about clerical abuse, the effect on survivors and the callous moral imperviousness of the perpetrator.

It is in his pastoral dealings with parishioner that we see the priestliness. Michael is generous with him time, in his capacity to listen while not having immediate answers let alone solutions. There is a touch of the ordinary in the parish group discussing the dresses for the First Communion ceremony and Michael notes the expense and suggests something more modest. The organiser of the ceremonies for twenty years is upset and leaves. Michael arranges a bouquet of flowers and a tribute to her at the end of Mass.

And, on the human side, Michael plays cards with old friends, goes to the Catholic club with its stand-up comedians, joining on stage with the chorus.

The first social case is a single mother who brings her daughter to Mass to prepare for First Communion. The Mass lasts longer than expected. She is late for work, clashes physically with her boss and is fired. When her mother dies at home, she does not tell her family, getting her mother’s pension cheque cashed and being arrested for fraud. Michael picks up the kids from school, gently confronts her about her dead mother (and listens to the angry attacks of the sister shocked at what has happened to the mother) and makes an appeal in court for leniency, especially for the sake of the children.

Another parishioner, an immigrant from Trinidad, finds that her mentally disturbed teenage son is the ‘least well’ of the inmates at an institution and his bed is needed for those who are more ill. With the son upset at home, the mother phones Michael, gets his answering machine. Tired, he lets the message go. The audience then sees the police being called, the boy with a knife to his throat, a female officer who is daily pressurised to be ‘one of the boys’, spraying the young man. Agitated, and seemingly threatening, he is shot. It is only during the intercessory prayers at Mass the next morning that Michael learns what has happened.

He continues to be a great comfort to the mother, anointing the boy at the morgue, standing by her at the police interviews. But, he continues tormented by his not answering the phone, the mother saying her son would be still alive if Michael had been able to come. He wants to tell her the truth, seeks counsel from his priest friend and does not. He is present at difficult interviews, at a vigil outside the house. A great deal of the action shows the police discussions, cover-up plans, pressure on the officer who did the shooting, his consulting Michael in confession and for advice, succumbing to peer pressure in lying – but anguished, going to Mass and Communion, asking why Michael gave him the host with Michael asking why he came and his stating that he needed Communion more than ever.

It is during the inquest that truth comes out, that Michael is shamed in not answering the mother’s call. But it provides moments of redemption for the policeman.

The homosexuality theme arises unexpectedly. The mother’s brother and sons arrive from Trinidad and encounter a gay neighbour bringing a sympathetic bouquet. He is verbally attacked by the man, mocked by his sons. The gay man is vulnerable, nearing 50, living with his mother who has just died, and grieving. When he makes the parallel in offensiveness between ‘queer’ and ‘nigger’, the brother punches him. The gay man presses charges and is sympathetically heard by the police. Since Michael witnessed the punch, he tries to mediate. The gay man has the opportunity to voice his Catholic upbringing, his sense of abandonment by the Church, his being put down and despised. The brother, however, is of the old strict Catholic formation, intransigent, no understanding of gay men, no tolerance. Tolerance is the plea of these sequences.

Perhaps the key encounter occurs when a middle-aged woman comes into the church, quite some time away from the church, begins a confession because she is about to kill herself. Michael wants to stop her but realises he has to listen. She has stolen over 200,000 pounds from her employer over eight years, is about to be exposed. She has spent it all on poker machines. She has three children, a neglectful husband, and confesses to affairs after his infidelity. It is she who later propositions Michael.

Michael is able to extract promises that she will delay her suicide. This leads to a bonding friendship, an encounter when she brings her clothes to the charity shop, Michael persuading her to speak to the managers of the gambling shops (four in one street in the parish and no bank). She confesses to her boss, has some domestic time with her children, writes a note to her daughter and kills herself. Michael conducts the funeral, tries to help the children deal with their mother’s death (and helps clean the house with them), and copes with the daughter going into the shops and smashing the machines. He also preserves the seal of confession, not willing to give details of what he knows about her mother and her intentions.

And, all the time, Michael has to travel to visit his sister and their dying mother. There are some tender scenes, his lying beside his ill mother, singing with her Chattanooga Choo Choo and The Little White Bull. There is a kind of reconciliation, talking about death and his guaranteeing an afterlife, anointing his dead mother. Michael always lights a candle with people, reminding them of the light and presence of Christ.

1. The impact of the television series? 2017? British audiences? Worldwide? Secular audiences, religious audiences, Catholics?

2. The work of Jimmy Mc Govern, his work on Priest, on television series, The Street? Social concerns?

3. Liverpool, the parish in the area, the Church, exteriors and interiors, the two presbyteries, ordinary homes, workplaces, charities? The musical score?

4. The insertion of the flashbacks, Michael as a boy, his age, the condemnations of his mother, the mysterious corridor, the door? The denunciations? In English class, the priest reading The Windhover, his comment on the literature, the priest accusing him of cheating? The priest touching him? The changing room?

5. Christina’s story: her family, going to Mass, the children, her being late for work, the clash with the owner, the assault? Picking up the children from school? Relying on Michael? The interactions with her sister? Her mother at home? Her mother’s death, the delay in announcing it, the pension issue, going to the office? Collecting it? The children, Michael coming and seeing the truth? The police, the pension fraud? Her sister’s anger, discussions with Michael, who loved their mother more? the first Communion sequence? The bouquet for Miss Pickering? In court, Michael’s personal plea for Christina and her children? The debt of £55? Her finally being at the funeral Mass?

6. Helen’s story: her presence in England, the parish, her son, his age, in the institution, the sympathy of the staff, his being at home there? Having to leave, the “least unwell�, at home, upset, paranoia, Helen phoning Michael, the answering machine, his not ringing back? The episode, the police, the spray, the shooting? The intercession at Mass and Michael learning what happened? His comforting Helen, his anger at their not fixing the lock, going to the morgue, the anointing, his dilemma about telling Helen the truth, his discussions with Peter? Individual, Amazing Grace? His amazement at Helen’s forgiveness quoting her at Mass?

7. Andrew’s story: policeman, the case, in action, the reports about the incident, the cover-up, the interviews with the authorities, his friends, the clash, his wife and her urging him to keep his job, his mother’s urging conscience? The barbecue, the friends? His going to church, discussions with Michael, his decision to lie, his going to Communion and Michael asking him why he approached, his despair and that was why Michael gave him Communion? His presence at the vigil for the dead boy? The arrival of Daniel, his boys, the taunting of Carl, Carl and his response? Daniel hitting him? Helen and her concern, Michael organising them all to sit down and discuss? Helen saying Daniel was always overbearing? The importance of the inquest, her speech, Michael and his telling the truth and her dismay and weeping? The appreciation of Andrew’s testimony? Her shutting the door to Michael? Her finally being present at Michael’s mother’s funeral Mass?

8. Roz’s story: her approach to Michael, her age, her story, work, the stealing of so much money, the poker machines? Her contemplating suicide? Herself and her disclosure, the confessional context? Her family, her husband, his infidelities, her infidelities because of that? Confession and scenes? Michael, his capacity for listening, his plea, urging her to promise to delay the suicide? The promise, her concern about the different ways of killing herself, her she would look on the slab? The charity, giving away her clothes? Her agreement to come to the meeting to speak about the slot machines? At work, her confession, the boss denouncing her? At home, the pasta with the children, her argument with the son about stacking the dishwasher, the bath in preparation? Prayer with Michael, his advice, lighting the candle for the presence of Jesus, his telling her that there was no station of the cross where Jesus expressed his despair from the cross? The taking the dog to her mother, contacting her daughter, writing the letter to her? Jumping from the roof?

9. Chloe’s story: the contact with her mother, receiving the letter, her grief? Looking after the boys, the house in a mess, Michael’s arrival, her wariness, his helping with all the cleaning? Her going to the betting shops, smashing the machines, the owner and his first being lenient, his lecturing her about the benefits of the machines, regrets about her mother? Chloe returning, smashing machines again, the owner and his threat of a restraining order and her contempt of court? The men going into rate the machines – and Michael countenancing this into the future? Chloe coming to the Mass, hearing Michael talk about her mother, her questions and his not being able to answer because of the seal of confession? Her presence at his mother’s Requiem?

10. Carl’s story: neighbour to Helen, his grief, a gay man, late 40s, living with his mother, grief of her death? His history of persecution? Growing up Catholic and his admiration, the church condemning him in his leaving? Bringing the flowers for Helen? Daniel refusing him, the insinuations, queer? The boys playing at the door and taunting Carl? Is ordering them away? Daniel and his angry reaction, Carl is making the parallel between queer and nigger? Daniel hitting him, Carl going to the police, the sympathetic reaction, coming to the house, confronting Daniel? Michael and his role, witnessing the hit? His going to see Carl, asking him to drop the charge, for the sake of Helen? Michael in the house, talking with Carl, the death of his mother, living alone with her, 49, his grief? His history in the Catholic Church and delight in it? His feelings of condemnation because of his orientation? Anger, telling Michael to tell that to his bishop into the Pope? Daniel and his staunch Catholic stances? Michael organising the discussion between the four? Contribution of each, Carl leaving? Daniel intransigent? Carl and his decision? The film dramatising homophobic attitudes, cultural differences, harshness and injustice?

11. Michael’s mother, the past, his story about his father? His mother, illness, in bed, Michael singing the songs with her, Chattanooga Choo Choo, The Little White Bull, her daughter’s presence? The final illness, Michael present? Talking with her, saying she was a good mother in his memory? Her dying? Mike on his prayer for her soul? His saying that he could not continue as a priest after her death? Not wanting to do her funeral? Peter and his pressure? Michael and the celebration? His acknowledging how hard it was often to visit his mother? Everybody coming to Communion and affirming him as a wonderful priest?

12. Michael’s story: memory of his father, memories of his mother, her condemnation of him? At school, taking the money, his reputation? Delight in poetry, Hopkins, discussing literature? The priest, classroom, changing room, touching Michael? Away from the church, the man with the pork and its return? His backing down the priest, Roz and talk about guilt and shame, his confronting the former priest, the attitude of the priest, defensive, and Michael’s angry outburst and condemnation? His treatment of the girls, considering them sluts because of being with him? Resuming his story without details of his formation, his early ministry? His friendship with Peter, visiting, prayer, advice?

13. Michael the church, celebrating Mass, the penitential rite, the consecration of the wine and the insertion of the flashbacks? Homily? The first Communion is, suggesting less expensive clothes, the upset of the teacher, the apology, the bouquet for her at the Communion? Sacraments of the church, the range of confessions, the anointings of the sick and the dying? Funerals?

14. Michael in pastoral action, with the single mother, her sister, the children? With Helen, compassion, her son? Her brother and his intransigent homophobia? With Roz, listening to her, wanting to save her, the concern about the machines, her talk to the group? Concern about her daughter, the children, cleaning the house? The funeral? The seal of confession? The talk with Carl, his experience of being put down as a homosexual? Mediating between Carl and Daniel? Michael and his lighting a candle always to signify the presence of Christ?

15. The touches of outburst about the contemporary church, women, Mary and her pregnancy, women’s bodies, women priests and hierarchy?

16. Michael and his mother visits, his homily and saying there was some resentment in having to visit her, lying with her, the songs, talk about life after death, anointing her? His thinking of giving up after his mother’s death – and Peter’s encouragement, the local priest, the others encouraging him? Communion and his being a wonderful priest?

17. The portrait of a contemporary 21st-century pastoral parish priest?