THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
US, 2017, 115 minutes, Colour.
Frances Mc Dormand, Woody Harrelson, Sam Rockwell, Lucas Hedges, Caleb Landry Jones, Abbie Cornish, Kathryn Newton, John Hawkes, Samara Weaving, Clarke Peters.
Directed by Martin Mc Donagh.
Martin Mc Donagh is an extremely talented writer. He has had many successes in theatre. In film, he made In Bruges as well as Seven Psychopaths. He certainly likes titles with the touch of eccentricity – no more than in this one. Who else would have billboards in the title, let alone a reference to Ebbing, Missouri?
This is a most interesting and highly entertaining film – though, those familiar with his other works will find that McDonagh? is prone to include a high quotient of expletives. But, they seem rather appropriate in the mouth of the central character, Mildred Hayes. She is a citizen of Ebbing, Missouri, and finds the framework for three billboards outside the town, not used since the 80s, and decides to rent them.
She is an angry woman. And she is played as if born to the role by Frances Mc Dormand, a fine, strong actress, who won an Oscar for her Minnesota sheriff in Fargo. This now is an award-winning performance on any level. But, Mildred’s motivation? Her daughter, Angela, was raped and killed. There have been no police results. So, on the billboards, in red and black, bold letters, a challenge to the local police, especially Chief Willoughby, played by Woody Harrelson.
McDonagh? has an ability not only with words but also with plot developments, character explorations, the interconnections. Chief Willoughby goes to see her, reveals that he is dying of cancer, eliciting little sympathy from Mildred, but he is a good man, is trying his best, dealing with his local police, especially Dixon, played expertly by Sam Rockwell. In fact, Harrelson and Rockwell are at their very best here.
There is sadness in the portrayal of Willoughby, especially with his family, his cancer, terminal, his response, especially a day out with his family, and a fine ability to write letters, especially to his wife (Abbie Cornish), to Mildred, to Dixon – fine and encouraging letters.
Mildred’s billboards are rejected by the townspeople, and Mildred is no slouch in counter-attack, especially a needle in a dentist’s hand, setting fire to buildings, and some scorching repartee. There are scenes with her former husband, John Hawkes, and his very young girlfriend (Samara Weaving). Her son, Robbie (Lucas Hedges), lives at home and has difficulty at school, the local priest coming to help the boy but being on the ultra-sharp edge of some condemnation by Mildred, likening priests belonging to the church to criminals belonging to gangs, and while they might not commit crimes individually, they are all tarred with the guilt of the gang.
Perhaps the best development of character in the film is that of Dixon, a redneck Missouri policeman, who tortures “persons of colour�, not particularly bright, dominated by his slovenly mother at home, grieving for Willoughby, angry at the young man who made the contract for Mildred to have the billboards, throwing him out of a window and bashing him. When he is suspended, by an African- American superior officer, he is resentful. However, he is touched by the letter, touched by some help from Mildred after the police station goes up in flames, tries his own method to discover who the murderer is.
There are many minor characters in Ebbing, all of them well depicted. This all goes to make an interesting screenplay, offbeat certainly, with characters who are not clear-cut black or white but all have their ambivalences, ambiguities in what they do and say.
So, interesting, entertaining, demanding reflection.
1. The impact? US awards, International awards?
2. Martin Mc Donagh and his work, his vision and style, his work in the theatre? For the screen?
3. The quality of the screenplay, the vocabulary, the wit, the use of language and swearing? The intricacy and interconnection subplot links?
4. Ebbing, Missouri, the town, small, offices, the police station, the gift shop, homes, bars and restaurants, playing pool? The countryside, the billboards and the environment? The beauty of the countryside?
5. The musical score, the range of songs, the choice of songs and their lyrics commenting on characters and situations?
6. The title, offbeat, the initial view of the billboards, not used in 30 years, Mildred and her hiring them, the putting up of the notices, their being burnt, renewing the notices?
7. The premise of the plot, Angela, her being raped while dying? The place of the attack? The grief, Mildred and her mourning? The police, her not being satisfied with their investigations? Putting up the billboards, paying for them, the contract with Red? The media attention, the consequences? The media and the interviews? Targeting Bill, the hostility of the townspeople, the treatment of her, eventually burning the billboards, her wanting revenge? Burning the police station?
8. Frances Mc Dormand’s portrait of Mildred Hayes, the strength of the dialogue, impersonation and delivery? Her seeing the space, driving, the idea, the discussions with Red, the downpayment, the contract, the erecting of the billboards, Jerome and the sympathetic men, on her side, against the police? Jackson seeing the billboards, his hostility, phoning Bill, is swearing at the Easter dinner? Bill going to have a look, talking with Mildred, more sympathetic, explaining he had cancer, her blunt response about being effective before he croaked? The irony of Bill paying further for the rent of the billboards? The reaction of the people, the complaint from the dentist, Mildred going to him, the injection, her sticking the needle on his thumb? Her other denials? Her relationship with her son, at home, talking with him, his problems? Her husband, the past and his violence, his young girlfriend? His coming to the house? The situation of the billboards?
9. The portrait of Bill, Woody Harrelson, with his family, his wife and children? A good man? Going to the doctor, his cancer, spurting the blood on Mildred and her care for him? The lack of progress in the investigation? His interactions with Jackson? With the of the police? His happy day, with his wife and children, peace, sex and love, his writing all the letters, shooting himself?
10. The importance of Bill’s letters, to his wife and the explanations, care for his children, the initial response, getting used to it? His months of pain for the family having to deal with that compared with the grief and his death? The letter to Mildred, hopes, suggesting a possible solution from accidentally overhearing, the perpetrator revisiting? The letter to Jackson, commenting on his abilities and lack of abilities, his care for his mother, death of his father, affirming him and suggesting work of being a detective? His sympathetic observations about being gay?
11. Jackson, Sam Rockwell’s performance, redneck, torturing persons of colour? The traditional Missouri and the 21st-century cases of police brutality to black men? His mother, her control, his care for her, sitting on the veranda, her bigotry? His low intelligence, his reminiscence about not being good at school, the years in the academy, his having to repeat? His slovenly work in the office? With Bill, with the Sergeant? His anger with Mildred, grief at the news of Bill’s death, going to the office, attacking Red, throwing him out the window, kicking him? His weeping? The new commander, his not recognising him, cheeky reaction, giving his gun and having to find his badge? Home? The Sergeant indicating the letter, coming in the office, leaving the key, reading the letter and its effect, the fire, his decision to rush through the fire, his burns, Mildred aghast at what she had done and his injuries? In hospital, Red recognise him, yet offering him the orange juice? Going home, the effect of the letter, going to the bar, listening to the man boasting about the rape? Picking the fight, clawing him, getting the DNA? Sending it for examination? His talking with Mildred, giving her some hope, with the chief, there being no match, the perpetrator being out of the country? Jackson persuaded that the suspect had raped or witnessed a rape? The number plate, the address in either Idaho, phoning Mildred, agreeing to go with her to Idaho? On the road?
12. Mildred son, his age, at school, memories of his sister? The flashbacks, Angela and her being saucy, taunting her mother, saying she might be raped and murdered, her
mother having said that she wished that – and a lifetime of regret at saying it?
13. The visit of the priest, helping the son, Mildred’s reaction, the story of the LA gangs, the responsibility of members even if they didn’t commit crimes, the church as a gang, the priest being a member, even if not perpetrating sexual abuse of altar boys? The anger and bitterness in her outburst?
14. James, dwarf, his place in the town, playing pool, comments on the midget and dwarf? His attraction to Mildred, seeing what had happened with the fire, giving her an alibi in the interrogations, going to the meal, in the restaurant, uncomfortable, Mildred’s husband, her leaving?
15. The husband, past as a policeman, violent in the home, leaving, his girlfriend and her age, visiting the home, the clash with Mildred? In the restaurant, the comment about “begets� and the girl quoting it, mixing up polio and polo…?
16. The helpers from the Billboard company, the replacements, the dwarf holding the ladder, the son helping, pasting up the signs again? The impact of the fire and Mildred trying to put it out, her son helping?
17. Mildred and anger, her friend in the gift shop, Jackson arresting her for drugs? Her getting out? Mildred burning down the station and her alibi?
18. On the road with Jackson, their not being sure whether they wanted to kill the perpetrator or not? Deciding on their way? An appropriate ending for the film?
19. The wit and wisdom of the screenplay, the interlinks of the characters and themes?
