HERSELF
UK/Ireland, 2020, 97 minutes, Colour.
Claire Dunne, Harriet Walter, Conleth Hill, Molly McCann, Ruby Rose O'Hara, Ian Lloyd Anderson.
Directed by Philippa Lloyd.
Herself it is, as the Irish say. And they say it here, in this contemporary story from Dublin.
Domestic violence, a sadly relevant theme at any time but, particularly, in these times when discussions are much more public, when there are campaigns highlighting the prevalence of physical and psychological brutality in the home.
And, yet, this is a very positive film. It shows a woman, victim of violence, yet becoming more than a victim, even more than a survivor, a woman who discovers purpose and acts on it. Actress Claire Dunne who portrays this woman, Sandra, (Claire Dunne contributing the story and cowriting the screenplay), won an award from the Women Film Critics Circle for her performance, for “Women Saving Themselves”.
Sandra is a loving mother, with two little girls, seen playfully romping with them as the film opens, their father arriving home, the little girls running to him, then the father turning on Sandra beating her, stomping on her wrist. Sandra leaves with the girls. And, later, there will be conflict about child custody, hearings in the court, Sandra making the comment there as to when she was asked why she didn’t leave, the question should have been to her husband, to be asked why didn’t you stop?
Sandra has to find accommodation, take the older girl to school, work in a bar as well is make ends meet along with child support by looking after a recovering invalid, Peggy, who had been a doctor. Sandra’s mother had worked for Peggy and they had been friends. Peggy is played by that marvellous stalwart of British film and television, Harriet Walter. This aspect of the screenplay shows how blessed it is to have friends, supportive friends who will step up in their help. And this theme continues throughout the film, the value of friendship, people working together.
Because, In fact, Sandra discovers an online builder explaining how one could build one’s own house. And this is where Sandra comes into our own, doing all the investigations, the financial implications, seeking advice, Peggy being financially supportive, Sandra making the decision to build. And, the sequences where, every weekend, Sandra and a friendly builder and his Down Syndrome son, a mother from school, a young woman who works at the bar, bringing some friends, patiently, with a zest, build that house. “Women saving themselves.”.
We are not prepared for an appalling shock towards the end of the film – audiences will recognise it when it happens. And, while there are custody difficulties, issues with the affections of the children, patience and perseverance, the film ends with a wonderful small sequence of hope. Sandra is well and truly ‘herself’.
- An Irish story? Universal story? Family? Domestic violence? Consequences? Custody? The building of the house?
- The Dublin settings, the city, homes, streets, apartments, courts, open ground? The musical score? Irish songs?
- Sandro’s story, Claire Dunne’s performance, contributing the story and cowriting the screenplay?
- Sandro, playing with the girls, Gary arriving home, the children’s reaction, his violence, stomping on her wrist? Her leaving? Taking the girls? Finding accommodation? Her work, helping Peggy? In the bar? Managing, taking Emma to school, the discussions with Rose? The pressures on her, taking the children to carry this parents? Emma going, Molly frightened and refusing? This being used in evidence against Sandra?
- Sandra, the video of the homebuilder, his enthusiasm, explanations? Her doing the research? Going to the store, explanations? The encounter with a doe? Asking his help? His wariness? His links with the Gary? Sandro meeting him, his advice, taking his son, the genial son giving the boots to Sandra, Down syndrome?
- Peggy, her past, fragility, Sandra caring for her, Sandro’s mother and the friendship? Her own family, her daughter’s protest? Giving the money to Sandra for the building?
