SONG FOR A RAGGY BOY
Ireland, 2003, 100 minutes, Colour.
Aiden Quinn, Iain Glen, Marc Warren, Dudley Sutton, Alan Devlin, Stuart Graham.
Directed by Aisling Walsh.
Song for a Raggy Boy is one of several Irish films, made in 2001-3, on themes of physical and sexual abuse in the Irish Catholic Church. They include The Magdalene Sisters, Sinners, Evelyn, Conspiracy of Silence.
Audiences who regret the dramatisation of Catholic scandals on screen will be upset by these films. The films can be seen, however, as a necessary part of people's coming to terms with abusive behaviour by official church personnel, an acknowledgement that it occurred and had lifelong damaging effect on victims, that compassion was sometimes slow in coming from the authorities and that alarm led to slowness or reluctance in dealing with abuse. This is part of the church's examination of conscience concerning revelations about what has occurred in recent decades. Patrick Galvin, author of the novel on which the film is based, spoke about the effect of writing the book and of collaborating on the film as an 'exorcism' of the past for himself. Often the victims want only an acknowledgement by the church and the perpetrators that these events happened.
This film is set in 1939 in a school reformatory for boys, some younger than twelve, managed by the local bishop with a priest in charge and staffed by brothers. The brother-prefect is a stern disciplinarian who resorts to excessive physical punishment and humiliation of the boys. One brother is a sexual abuser. There is only one sequence of sexual abuse, visually reticent, but all the more horrendous because of this. It is a disturbing reminder of the reality of such abuse, the pathology of the brother and, particularly, the pain of the reluctant victim who speaks of this in the confessional and is advised to keep what has happened to him to himself.
The physical abuse is alarmingly violent and, dramatically, over the top. Many older Catholics, however, will have stories of these kinds of punishment. For the sake of the narrative, they are put together in a hundred minute film which can give an impression that this was the sole way of dealing with problems.
Song of a Raggy Boy, like the other Irish films (and the presentation of dominant clergy in such films as Ryan's Daughter, The Butcher Boy or Lamb) asks pertinent questions about the severity of the Irish Church, the collaboration with the state in running institutions of correction (and using the same methods of discipline and punishment that were prevalent in those times in state and other institutions) and the screening and training of clergy and religious.
Older Catholics and members of religious congregations can attest that in those decades, and even up to the 1960s, training was often very harsh, a formation in subduing the will by self-denial and severe and penitential practices that led to a sometimes morbid spirituality. The renewal in religious congregations asked for by the Second Vatican Council was intended as a rediscovery of the original Gospel spirituality of the founders with a consequent spiritual, moral and psychological maturity. Processes of healing of memories have been encouraged. This film is a reminder that religious men who entered an order in their mid teens and underwent this kind of formation absorbed it and saw it as the pattern for their ministry in schools but applied it sometimes in unconscious compensation for their lack of emotional development.
Actor, Iain Glenn, who portrays the sadistic Brother John, is quoted as using this kind of background to understand how his character could act in the way that he is portrayed.
It should be noted that there is a sympathetic older brother, played by Dudley Sutton, and a superior who wants change and compassion but who has learned to live with the limitations imposed by authoritarian superiors.
This is not to say that the film is joyless - a comment made on The Magdalene Sisters. In fact, the model for the film is the genre of dedicated teacher (Dead Poets Society, Dangerous Minds, The Emperor's Club, Mona Lisa Smile) who comes in to share a passion for their subject (here English and Irish language and poetry), educates students and transforms them as well as challenging the status quo. Aidan Quinn is William Franklyn, a veteran of the Spanish Civil War, who is the first lay teacher in St Jude's school.
Critical comment on the film has been quite varied. It has been invited to several festivals, from Karlovy Vary to Hong Kong. Many critics, who are not aware of the realities underlying the plot, have dismissed it (and laughed at it) as over-dramatic, even hysterical. Those who know the issues from the inside may agree that the violence shown, especially towards the end, is too much for the drama to be fully effective, but will find much in the film that speaks to their experience, much to reflect on.
Post-script: Catholics will notice quite a number of erroneous details, from vestments and selection of religious pictures to thinking that brothers are ordained. Advice from a technical adviser would have quickly remedied these details.
1. The impact of the film for church audiences, non-church. Irish audiences, non-Irish?
2. The situation at the time of the film's release, cases of physical and sexual abuse, prison sentences, especially in Ireland? The author, Patrick Devlin, saying that the novel and the film were an exorcism of his harsh memories? The film as a contributing part of the examination of conscience of the church and its authorities concerning these cases?
3. The film as a memoir of Patrick Devlin, authentic? Heightened for the sake of the drama - especially the scenes of brutality, with the touch of hysteria? 1939, the recreation of the period, its look, the religious statuary and pictures, the music, the hymns, the outbreak of World War II?
4. The significance of the background of the Spanish Civil War, William Franklyn and his place in the war, the opening, the flashbacks throughout the film, his memories and grief? The war itself, the execution of his friend and of Rosa? His relationship with Rosa, love for her, the gift of the book of poems? The scenes of violence of the war? Franklyn's comment that it was a war between those who did not have and those who did not want them to have it? The poetry of the civil war? The role of communism, especially as regards the Catholic stances? The symbolism of a fascist war in a Catholic country?
5. William Franklyn, his age and experience, not having a job, arriving at St Jude's? Welcomed by Brother Tom? Father Damien, the explanations of the school? The austerity of his room, the austere lifestyle? The dining room and the silence? The classroom, his taking a stance and assuring his authority? The discovery that so many of the boys could not read? Their suspicions of him, seeing him as another one of the staff? The relationship with Brother John, his warning about the boys being scum? The classes, the discussions, calling the boys by their name, helping them to read? The enterprise of building the crib and its effect on the boys? His giving them excerpts of poetry and drama to memorise? His discussions with the boys, especially with Mercier, the poems, giving him the book? His willingness to answer questions and Mercier challenging him about his past, the civil war, Rosa? The growing loyalty of the boys? Their respect for him? The crib and the ceremony in the church, the congratulations, taking the boys home after the crib without the discipline of Brother John, his giving of Christmas gifts?
6. Brother John, slapping the face of the boy, Franklyn stopping him, the growing enmity? The Superior and his knowing the reality of the situation? The boys being flogged at Christmas, the clash on the previous evening with Brother John about the boys going home? The build-up to Mercier's death? The funeral and Franklyn denouncing the death as murder? His packing, going through the yard, the boys following him, surrounding him and his not leaving? The significance of a Catholic layman in a school like this at the time? The postscript about his death in Normandy?
7. The presentation of the regime of St Jude's, a church institution, a state institution? The photo of the confirmation boys with the bishop? The band and "Faith of Our Fathers"? The bishop and his departure, his support of Brother John? Father Damien and his role as Superior? The brothers starving the school? The boys and their having numbers and being referred to as numbers? John as prefect, the nature of his discipline, dominating the boys? The punishments, the aftermath of Franklyn's intervention and the boys in their underpants outside in the cold raising their arms? The supervision of the dormitories, of silence in the refectory? The boy with his mattress parading after wetting the bed? The slapping of the boy's face, the flogging of the boys on Christmas Morning? The death and the cover-up? The inhumanity of the scheme? Church and State - and similar methods of discipline used in state institutions? The military model as the boys lined up and marched out two by two?
8. Father Damien, his wanting change, his reliance on Franklyn, his not sacking him, the explanation of the bishop's role, Brother John's role, having to live with the system in order to change it? Praising the boys at Christmas for the crib? The end and his grief at Mercier's death?
9. Brother John, his age and experience, a strong man, the reliance on discipline, discipline in his own life, his seeing the boys as scum and dregs and therefore treating them harshly, slapping the boy across the face, the barrier in the yard? His not wanting his authority challenged? His feeling Franklyn's defiance after the ceremony in the church at Christmas? His belting the two boys and drawing blood? Waiting for revenge, summoning Mercier, his brutality towards him, hitting him, asking him questions, his being the substitute for his anger at Franklyn? His hold over Brother Mack and knowing of his misconduct? The issues of religious life and training, a member of a religious order acting like this in the name of the church, personal compensation for lacks in his life, psycho-sexual dimensions of his behaviour, frothing at the mouth? His disgrace and his being sent to work in Africa?
10. Brother Mack, place on the staff, supervision, a seemingly ordinary brother? Age? The scene of his sodomising Delaney? His swearing the boy to secrecy, giving him gifts? The portrait, very brief, of the paedophile? His reaction to Delaney's mentioning the incident in confession, punishing him? His own personal prayer and desperation? John and his knowing? His taking Mercier to Brother John, watching the flogging, running away, seeking Franklyn to resolve the situation? The aftermath and his going to work in America?
11. Brother Tom, genial, age and experience? The brother in charge of tailor room, the boys working there, a greater sense of happiness and freedom, the brother and his humane treatment of the boys?
12. Mercier as the focus of the boys, his background, surly attitudes, bullying of Rogers, change of heart? Visiting Franklyn's room, aggressive attitude, changing, the poetry and the reading about the poem of the volcano erupting? The growing trust? Building the crib, the Christmas experience, the gift? His being sent for, his silence in the face of Brother John's demands, the brutality of his death? The funeral and the gathering? (?)
13. Delaney, his arrival, being given a number, his background, his being a victim of Brother Mack, his explaining the situation of depression and the priest telling him that it must not leave the confessional?
14. Peters, cheeky, not being able to read, the other boys urging him to learn to read so that he can make something of himself? His younger brother, the Christmas meeting across the barrier, the sharing of gifts, Brother John's catching them, the brutality of the flogging? The background of the visit of their father? The brothers supervising the visit?
15. Rogers, being bullied, Mercier helping him, memorising the poem?
16. The range of boys, their age, their sentences? Harsh administration and education versus affirmation and drawing out of potential? The themes of education in the times, the training of the religious brothers? The harsh Irish church, authority and power? The reality of abuse?
