Review: ‘Say Nothing’ draws strength from telling a focused story about the Troubles

As a survivor of the Troubles in Northern Ireland, I have lived through the turmoil and heartache that this period brought to our community. The FX drama “Say Nothing,” now streaming on Hulu, offers a gripping portrayal of the complexities of the conflict and its impact on individuals’ lives.

From the late 1960s to 1998, during which time the Good Friday Agreement brought an end to the long-standing conflict between the Catholic nationalist Irish Republican Army and U.K.-backed loyalist Protestant militias in Northern Ireland (often referred to as “The Troubles”), understanding its intricacies, paradoxes, factions, statistics, and historical roots related to the struggle for, and against, Irish independence and reunification has proven challenging even after a lifetime of research. The narrative stretches back for centuries.

FX’s ‘Say Nothing,’ a nine-episode historical drama currently streaming on Hulu, doesn’t aim to encompass everything about the story it presents. Instead, it concentrates on specific characters, their actions, and connections. The series was developed by Joshua Zetumer, who adapted Patrick Radden Keefe’s award-winning 2018 nonfiction book of the same name.

The story, encompassing the Troubles era (and beyond) is encapsulated within the Belfast Project, a collection of confidential interviews conducted by Boston College between 2000 and 2006. “Say Nothing” portrays only two of these interviews, featuring IRA volunteer Dolours Price (played by Lola Petticrew as a younger character and Maxine Peake as an older one) and commander Brendan Hughes (Anthony Boyle in his youthful role and Tom Vaughan-Lawlor as an older character), who were both known as “The Dark”. Notably, both characters have passed away; Price in 2013 and Hughes in 2008.

The story primarily unfolds within the context and perspective of the IRA, concentrating on Dolours and her sister Marian (played by Hazel Doupe), as well as senior officers Hughes and Gerry Adams (portrayed by Josh Finan in his younger years and Michael Colgan in older years). Notably, Gerry Adams is a well-known mainstream politician in real life. However, it’s important to note that each episode carries a disclaimer acknowledging Adams’ denial of ever being a member of the IRA or participating in political violence. The series itself seems to contradict this claim.

When encountered, the Price sisters are tranquilly advocating for equal rights, often disparaged by their father, Stuart Graham – a former combatant from a past phase of “armed conflict,” who had spilled his blood in battles.

In a civilized community, what does resorting to violence achieve? This is the question Dolours poses, referencing Mahatma Gandhi and Reverend Martin Luther King Jr., in response to her father’s derision towards sit-ins and marches. (“Weren’t they both assassinated?” queries Aunt Bridie, portrayed by Eileen Walsh, who lost her sight and hands due to a prematurely detonated bomb.) However, the sisters become radicalized following an incident in 1969 at the Burntollet Bridge, where protesters demanding equal rights on a peaceful march from Belfast to Derry were unexpectedly attacked by a mob armed with stones, iron bars, and sticks tipped with nails.

Running subtly throughout “Say Nothing” and linking the main characters is the narrative of Jean McConville (Judith Roddy), a mother of ten who was forcefully taken from her apartment in 1972 by the IRA, only to vanish without a trace. The search for her remains offers some of the most emotionally poignant scenes, but it’s Dolours who serves as the story’s central dramatic figure. While Marian continues as a soldier unwilling to acknowledge the end of the conflict, Dolours – who later married actor Stephen Rea – evolves into a more contemplative and remorseful individual, paying a heavy price for her changing perspective.

In a relaxed and effortless manner, Adams, often referred to as “The Big Lad,” sports Buddy Holly-esque glasses, a bohemian beard, messy hair, and a turtleneck sweater. His charisma is laid-back yet captivating, giving off the impression of a cool, or seemingly cool, assistant professor, addressing Dolours (who was actually just two years younger in reality) as “child.” Hughes, on the other hand, is more sociable but may be limited by his strong sense of morality. The Price sisters’ narratives, in contrast to the main characters, are relatively under-explored; much like in ballet, men serve primarily as support for lifts and catches.

On the screen, there’s some violence, either happening directly to the characters or implied nearby. Regardless of where it occurs, its impact is palpable. In 1973, two sisters were imprisoned in England following their involvement in a series of London bombings. They initiated a hunger strike, demanding transfer to an Irish women’s prison. As punishment, they were force-fed, a procedure depicted with chilling precision. However, many scenes unfold in ordinary settings like rooms and pubs, shrouded in dim light as a reflection of the enigmatic and isolated environment portrayed. The violence, more frequently than not, is psychological and often self-inflicted.

This kind of period production may appear contrived, even with a substantial budget. However, regardless of historical accuracy, it’s plausible to imagine this as a possible portrayal. The production values and set pieces seem authentic, while the dialogues feel more like everyday conversations rather than formal speeches. On the other hand, due to its expansive timeline and numerous omissions, the series can occasionally feel detached, particularly when it veers away from Dolours’ narrative. It feels more like a fragmented history lesson instead of a vivid depiction of real events. There are undeniably impactful moments that highlight human drama, but the political aspects may not resonate as deeply – they seem somewhat eccentric.

In a more casual and straightforward rephrasing: Since many wouldn’t consider the IRA as a warring army, as it claimed to be, but rather a terrorist group, similar to the Ulster Defense Association, our hope lies in the fact that these sisters can manage to survive their encounters with the IRA, just like they did with their smuggling missions, bank robberies, and prison terms. Hughes expressed to the Belfast Project interviewer (Seamus O’Hara) that Dolours could have lived a life of her choosing – perhaps in New York or Paris, and it’s hard not to wish for that reality.

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2024-11-14 23:01