FIVE MINUTES OF HEAVEN

UK/Ireland, 2009, 90 minutes, Colour.
Liam Neeson, James Nesbitt, Anamaria Marinca.
Directed by Oliver Hirschbiegel.

A film well worth seeing and reflecting on.

We are taken into Northern Ireland and the Troubles of the 1970s. What begins like an ordinary day for a teenager turns into a symbolic day of bigotry and violence as he takes a gun, meets up with friends, takes orders from the paramilitary officers, is eager to shoot anyone associated with Catholics or the IRA – and does so in cold blood in front of the victim's young brother. We have glimpsed the victim's family and the little boy innocently in the street kicking his football. The murder has long-term disastrous consequences for the boy, his mother blaming him for not stopping his brother's death and his continued feelings of anxiety and guilt.

This is important because most of this brief film takes place in the present. A television channel has persuaded both of them to meet on air.

The killer has served time and is now a respectable documentary maker. He is played with quiet intensity by Liam Neeson. The grown-up boy is a bundle of nerves, fidgety, distracted, changing and re-changing his mind. He is played by James Nesbitt at his best.

While a lot of the time is spent at the house where the two are to meet and the discussions between producers, minders, make-up artists, camera operators (who bungle walks down stairs which have to be re-shot), the focus is on the two men. The killer knows reconciliation might be too difficult. The victim has murder on his mind.

The screenplay offers the two actors an occasion each where they can speak to camera and explain what they have gone through and why. Neeson's plain and honest speech about his fanatical teenage viciousness and his coming to see how he had been brainwashed as well as his plea for understanding and non-violence is a high point. Nesbitt's desperate memories of his angry mother, his witnessing the murder and the corrosive effect this has had on his whole life reminds us powerfully of the lasting impact of trauma.

The aim is, perhaps, reconciliation but when that is too difficult, some kind of resolution, some kind of closure is the next best step. This can be very awkward as the film shows – but closure is possible.

The unusual title for this kind of film refers to the brief satisfaction someone might get in revenge... but, what afterwards?

The film won awards at the Sundance Festival 2009, for the screenplay by Guy Tibbert and for direction by German Oliver Hirschbiegil (who directed the strong Hitler film, Downfall, and who had a bad Hollywood interference experience on The Invasion with Nicole Kidman).

As this film went to air on BBC 2, there was a cinema release of Fifty Dead Men Walking, the story of a mole in the IRA who reported to British Intelligence and who is still on the run since the early 1990s, a film critiquing the violence and ruthlessness of the Troubles.

1.The impact of this film for the 21st century? The background of wars, the Irish Troubles, the peace? The aftermath of 1997 and the peace accord? Issues of forgiveness, reconciliation, closure?

2.The Sundance Festival awards? The strong cast? The German background of the director?

3.The re-creation of 1970s Belfast? The ordinary homes, the streets, kicking footballs, work in factories? The presence of the British military? The tensions?

4.The contrast with the 21st century, changes, prosperity in Northern Ireland, the role of the media, homes, the continuity over the thirty years? The differences?

5.The title, Joe’s explanation of his five minutes of vengeance against Alistair?

6.The prologue: Alistair, his age, getting up, dressing, the mirror, the gun, testing where he would wear it? An ordinary young man? His family, meeting up with his friends, their rowdiness, the bonds between them, the plan, the boss and his orders, Alistair wanting to kill, the car and getting it started, parking, the streets, the boy kicking the football, driving away?

7.The family, home, Joe in the street, kicking the football, his brother coming home, the work in the factory, the parents, eating in the house, watching television, ordinary life? And the killing?

8.Alistair’s motivation, clarity, his being brainwashed, chosen? His lack of moral scruple?

9.His arriving in the street, driving, the risks, being seen, Joe kicking the football, Alistair wearing the balaclava, his eyes, the look at the boy, shooting through the window, the boy powerless?

10.The aftermath, grief, the mother and her blaming Joe for not stopping her son’s death?

11.The 21st century, Alistair and his reputation, the documentaries, the world traveller, poised, in the car, talking to the driver, the discussions about his life? Having been in prison, out?

12.The contrast with Joe, his reasons for agreeing for the television meeting, his life over the years, in the factory, his wife and children, nervy, his memories of his mother, her blaming him? Talking with the driver, stopping and starting, smoking, getting out, edgy?

13.The mansion for the television program, the television crew, the set-up, the producers and their discussions, the staffers, the plan?

14.The idea for the two men to meet, for the television viewers? Reconciliation or not? Closure for both men? Hopes?

15.Alistair ready, not meeting Joe, the discussions with the producers? The impact of his long talk to camera, his confession, as a boy, imbued with hatred, the bigotry, wanting to shoot, the effect on him, seeing Joe? Arrested, in prison? The realisation of the broader world, in prison, discovering that he had lived in a closed world? His breaking out of his prejudices? Breaking out of hatred?

16.Joe, arrival, his meeting with Vika and their discussions, her sympathy? Cups of tea, his smoking? The producers, the reassurance, makeup? Going down the stairs, having to do it twice, the effect on Joe? The knife, concealing it? Wanting to kill Alistair? His memories, the explanation?

17.Joe leaving, the failure of the program, going home?

18.The contact from Alistair, his arrival, in the house, Joe upstairs, the tension, the physical fight, the argument, falling out the window, in the street? The aftermath?

19.The final phone call from Joe, closure?

20.Themes of hope, limited hope, but the possibilities for closure and new lives?