FINDING YOU

US, 2021, 118 minutes, Colour.

Rose Reid, Jedediah Goodacre, Katherine McNamara, Vanessa Redgrave, Tom Everett Scott, Judith Hoag, Saoirse- Monica Jackson, Patrick Bergin, Fiona Bell

Directed by Brian Baugh.

Finding You is a pleasant way of indicating that this is a story of finding oneself (nicely finding good selves in others). This is a pleasingly entertaining story with quite a number of strands, subplots, plenty for the young adult audience, enjoyment for the middle-aged, and some good drama for older audiences – and some visual echoes of Game of Thrones for the fans of all ages.

The opening of the film is in a very busy New York City, Finley (a charming, strong-minded Rose Reid) plays the violin and goes to an audition – and fails. Before you can say Mother Machree (if you do), Finley is on an Aer Lingus flight to Dublin, following her brother’s footsteps, to do a summer course in Ireland, County Louth. She is upgraded to 1^st class (the audience immediately a touch envious!) And find she is sitting next to the star of the heroes and dragons films, shot in Ireland. He is Beckett (a touch reminiscent of Kit Harrington’s looks, something of an unwilling celebrity, still rather boyish in many ways.) He is played by Canadian actor, Jedediah Goodacre (now there’s a name!).

It is a great relief for all of us that most of the rest of the film is set in rural Ireland, an attractive village in County Louth, a picturesque coastline, and some visits to the Cliffs of Moher. And Finley’s accommodation is a lovely B&B, with a family her brother stayed with. And, when she is asked to take the breakfast into the guest, who does he turn out to be!

Actually, Finley is not very impressed by Beckett at all. He, on the other hand, is controlled by his father who is his manager, who manipulates the press with gossip-magazine stories, especially about his relationship with his co-star. In fact, Beckett really would like a life outside the movies. But, as mentioned about Game of Thrones fans, there are some enjoyable sequences on the film set, costumes and action, swords and fights, dragons breathing smoke.

We know there is going to be a romance but is rather an intricate way of getting there, starting with Beckett asking Finley to help him rehearse his lines. She reluctantly does so. But, some melting of her haughty attitude, his taking her to the local pub where Seamus, the local drinking busker who plays a mean fiddle (and engaging Patrick Bergin), invites her to join him, urging her to move away from technique and to feel the music. She does. And Beckett offers to be a tour guide. And she is searching for a Celtic cross which was sketched by her brother, quest to her.

In case the older audience feels left out by events so far, there is a strong subplot focusing on a crotchety old lady in a nursing home – and, she is played, a master class as always, by Vanessa Redgrave. Finley, as part of the course in Ireland, is to accompany her. Much easier said than done – and the old lady has a sad back story that needs to be explored.

So, Finley has to go back to New York for an audition but she is better prepared to play more personally. Beckett has to face his father and reality and make choices. But, most will be glad to know that we do go back to Ireland.

A pleasant entertainment with something for everyone.

1. The title? With reference to the central characters? Finding themselves, their true selves? Through interactions?
2. The New York opening, busy, homes, studies, violin auditions? And the return to New York for the final audition?
3. The contrast between New York and the main part of the film in Ireland, County Louth, the town, the coast, aerial views, touristic Ireland, the Cliffs of Moher?
4. The musical score, violin pieces, Irish tunes, songs and dances?
5. Finley’s story, relationship with her mother, memories of her brother? The audition, her not succeeding, downcast, going to Ireland in her brother’s footsteps? The family welcoming her, the B&B, her room, settling down with the family? Their happy memories of her brother, and his sketchbook and the pictures of Ireland? The Irish cross and the dedication to Finley?
6. On the plane, the offer of the first-class seat, sitting next to Beckett, the magazine, realising who he was, asleep on his shoulder, his reaction, the initial clash, her reaction to the media personality, judging him? His reaction to her, standoffish? Watching him with the fans at the airport?
7. The family, running the B&B, the comic touches, and burns…? Finley and her discovery that Beckett was a guest, the interactions? The contrast with Emma, the fan, the hysterical response? (And the hysterical response of young girls at seeing Beckett, selfies…?)
8. Finley, violin practice, the composition for her audition, the classes, the assignment of care of the elderly, her meeting Catherine Sweeney, her harsh response, ousting her, the supervisor demanding she continue, the support of the nursing staff? Return visits, reading Jane Austen, Catherine’s reactions? Out in the gardens? The gradual mellowing? Finley and Catherine’s letter to her sister, returned? Wanting to find out the story, asking Nora, the harsh story, asking Seamus? Visiting the sister, the harsh reaction? Taking Beckett to see Catherine and her enthusiastic response? Catherine’s cancer, telling Finley the true story, going in the rain, asking Beckett’s help, their visit? The sister eventually coming to see Catherine, the reconciliation, the death? Finley and her decision, delaying the return to New York and supporting Catherine?
9. Beckett, his age, the parallel with Game of Thrones, the scenes on the set, costumes, castles, dragons flying, fire…, This kind of epic made in Ireland? The crew, the director and his accent, moods? Taylor, the romantic lead, interactions with Beckett? Beckett and his lines, his request to Finley, persuading her, their working together? His improvement? Taylor’s reaction? Finley becoming his assistant, the effect of their working together, comfortable together? Going out, to the pub, seeing Seamus on the street, busker, homeless, playing in the pub, inviting Finley to join, her playing, loosening up, playing from the heart? The effect on her?
10. Beckett’s father, has his manager, Beckett as a child star, not having a choice, his father’s control? On set, the visits, the encounters with Finley, not approving? The media, controlling his son’s story and his romantic life? Fake news? Leading to a confrontation with Finley, especially after their outing, the kiss, the jealous star and the photograph, on social media? The reconstruction of the situation? The challenge to Beckett, the need to sign the contract, his future assured? Beckett’s wishes, to go to college? Not handling the situation well with Finley? Taylor being seductive? Eventually confronting his father, the deal for one film, to support the crew, then his own life, saying that he needed not a manager but a father?
11. Finley, the effect of the experience with Beckett, being together, the cemetery visits, his promise to find the cross and his finding it, onset, with his lines, at the pub? Finley finding the cross,
12. The family, their continued support, the touch of the Irish, Emma and her friendship?
13. Seamus, a character in the town, playing the violin, asking, the coins, the pub, his success? The festival and is inviting Finley to play?
14. The range of townspeople, the Irish style and life, the pub, the proprietor, the patrons of the pub?
15. Finley, delaying her return to New York to be with Catherine, eventually going home, the audition? Her success?
16. The return to Ireland, a happy future?