Movies

Making a ‘biopic in real time’ with the Irish-language rappers of ‘Kneecap’

BBG News

As a seasoned filmmaker with a penchant for unconventional stories, I found myself drawn to the energetic and enigmatic Kneecap, a local Irish rap band that was anything but mainstream. Initially, their story seemed like an illogical choice for a movie, but that’s precisely what made it so intriguing.

Initially, filmmaker Rich Peppiatt teamed up with the three members of the Belfast hip-hop group Kneecap to produce a movie based on their extraordinary tale as Irish-language rappers. In good humor, he established a WhatsApp chat group titled “Kneecap Heads for Hollywood.”

According to Peppiatt, these topics were discussions we had while enjoying beers at a pub back in 2019. It seemed rather unrealistic or far-fetched at the time, he added.

Four years down the line, here I am, nestled in a hotel room near the Sunset Strip, chatting with bandmates Móglaí Bap and DJ Próvaí about our joint venture for the movie “Kneecap.” Sadly, Mo Chara couldn’t join us in LA this time. This film, reminiscent of classics like “A Hard Day’s Night,” “Purple Rain,” “Spice World,” and “8 Mile,” has already made a splash, winning an audience award at this year’s Sundance Film Festival.

According to the director, “It was indeed our aspiration, but truthfully, we never imagined it would turn out quite as successfully as it has.”

In Ireland, where English reigns supreme, these remarkable rappers encounter resistance from radio broadcasters, local political factions, and various authority figures – not just because of the substance of their lyrics, which intertwine anti-colonial sentiments with calls to indulge in drug use and revelry, but also due to their frequent usage of Irish language. Here I am, deeply appreciating their bold stance and unique artistic expression that challenges the status quo in such a captivating manner.

In the movie, Móglaí Bap explains that many crucial turning points are rooted in reality as it portrays their rise to fame.

“It’s some of the more mundane things in the film that are the untrue stuff,” adds Peppiatt.

Originally, DJ Provaí was a school teacher when the band formed in 2017, which is why he started wearing a disguising balaclava on stage to conceal his true identity. (It’s also worth mentioning that, as depicted in the film, he once pulled down his pants to reveal “Brits Out” emblazoned across his backside.) Contrary to the movie portrayal, Móglaí Bap’s father, characteristically played by Michael Fassbender, was not a criminal on the run from the authorities.

Móglaí Bap states that these characters serve as a reflection of where they originate and the individuals who played significant roles in their upbringing. In essence, it’s not just their tale, but it encompasses everyone’s narratives. For instance, around half my class, their parents could have been former members of the Irish Republican Army (IRA). Thus, while it may not always be our personal account, it does embody the shared history of Belfast.

The team initially aimed only to converse as they normally did among friends. However, their attention-attracting actions and innate talent ended up making them unintentional symbols of a campaign to reintroduce Irish speech, albeit unwittingly.

Móglaí Bap expresses that speaking a rare language brings a feeling of pride and honor, and one desires to uphold it. However, at first, they started for amusement alone, with no expectation that their music would reach beyond Belfast. They hadn’t even considered forming a band because, as far as they knew, nothing like that had existed previously.

The term “kneecap” serves to highlight the impact language can have. For instance, using “Northern Ireland,” which is its recognized name within the United Kingdom, contrasts with “the north of Ireland,” a term often used by those advocating for a united Ireland, thereby reflecting differing perspectives on colonialism.

In his narrative feature debut, Peppiatt expresses his initial fascination as finding both inspiring and politically charged the concept of refusing to acknowledge, even the language, of the country one resides in. Essentially, he’s saying that by declaring, “I don’t just not recognize this country I live in, but I will reject its very language,” it was a strong declaration reflecting his deeply-held beliefs.

Beyond advocating for Irish politics, Kneecap’s ideology extends beyond Ireland’s borders, notably expressing solidarity with the Palestinian cause. Members from their film even joined a pro-Palestinian demonstration in Park City, Utah, during the Sundance Film Festival.

Móglaí Bap states, “We don’t view discussing the situation in Palestine as a large-scale political move; rather, it’s seen as people advocating for human rights. This is because innocent people are being targeted by air strikes. The actions taking place in Palestine are war crimes, and I believe that when such atrocities occur, it’s essential to voice opposition.”

Peppiatt also points out that there has long been a shared history between the people of Ireland and Palestine. For over eight hundred years, the Irish have felt the oppression of colonial rule, much like the Palestinians do today. In America, it might be seen as contentious to express solidarity with Palestine, but in Ireland, it’s the norm. Supporting Palestine in this context is the standard position.

Previously employed as a tabloid journalist, Peppiatt left this profession in 2011, an event that sparked its own news story. In 2014, he produced a satirical documentary titled “One Rogue Reporter,” focusing on his departure from the industry during the turbulent times of phone hacking and ethical scandals within the British media.

Upon shifting his focus to TV writing and directing, Peppiatt was instantly captivated by Kneecap’s vibrancy upon their initial meeting. However, he recalls that the concept of a film centered around them seemed almost surreal when he first proposed it to the band.

As a cinephile penning my thoughts on an unexpected cinematic gem, I find myself drawn to a tale spun around an unsung Irish rap band, who remained unsigned, never recorded an album, and performed in a language not widely spoken. Initially, the concept didn’t resonate with the ‘blockbuster’ vibe; it seemed too obscure and illogical to bring this niche story to the silver screen. However, it was precisely this underdog narrative that made me realize: this is the film we need to create.

In “Kneecap,” the director has crafted an unconventional music documentary. It’s not your typical biopic; instead, it follows the events as they unfold in real-time, capturing a band as they create their own story. The director found the idea of making a real-time biopic about a band, who are essentially documenting their own activities, to be an intriguing concept.

Initially, the individuals associated with the kneecap (a group or association) were naturally suspicious about the intentions of this Englishman who wanted to narrate their story.

According to DJ Provaí, the English have a history of exploiting the Irish for financial gain.

Six months after Peppiatt approached the band, they started discussing with him and ultimately agreed to his proposal. It was Peppiatt who eventually persuaded them to undergo acting classes prior to filming. (The screenplay of the film is attributed to Peppiatt, acknowledging the members of the band as contributors in the story.)

After completing the film, everyone involved in its production would shift to the next project, but for us as the band known as Kneecap, it means we stay committed. If the movie turns out poorly, and if our performance and that of Rich are also poor, I suspect our music careers might be at an end.

As a movie enthusiast, I’d like to point out that Rich faced similar hurdles when guiding us. Since we were the ones acting, we instinctively knew our responses. This helped us maintain realism and authenticity. Kudos to Rich for handling it all with grace.

In a playful blend of carefree fun and progressive ideologies – celebrating their freedoms through partying – the group Kneecap embodies the spirit of individuals yearning for respect without constantly adhering to strict seriousness. Peppiatt points out that when he began learning Irish in night classes, preparing for his project, a few others were present because they were fans of Kneecap. As Kneecap’s fame increased, so did the attendance in those Irish language classes.

Móglaí Bap notices this as a common desire among people to step beyond the confines of their traditional upbringing. “We’ve stepped out,” he states. “And I believe that’s what truly irritates others, that we’re employing the language in a contemporary fashion. And I think it’s happening everywhere globally. With indigenous cultures, they say, ‘You can keep your culture, but you must present it in a specific way.’ We use the language in a manner that doesn’t fit their expectation.”

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2024-08-04 18:13

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