‘Say Nothing’ explores ‘human wreckage’ wrought by young radicals during the Troubles

As a history enthusiast who has spent countless hours delving into the intricacies of various conflicts and movements, I must say that “Say Nothing” is an extraordinary piece of work. The way it sheds light on a lesser-known aspect of the Troubles, focusing on the Price sisters, is nothing short of remarkable.

Given the captivating nature of Patrick Radden Keefe’s 2019 bestselling book “Say Nothing: A True Story of Murder and Memory in Northern Ireland,” it was almost certain that Hollywood would choose to adapt it.

The nonfiction book delves into both thriller and true crime genres, focusing on one of the most horrific unsolved crimes during the Troubles – the 1972 abduction of Jean McConville, a widowed mother of ten, from her Belfast home. It is believed that the kidnappers were members of the Irish Republican Army. This book serves to examine the ongoing impact of political violence on both survivors and those who perpetrated it.

Similar to a factual narrative, Keefe’s book delves into five decades of complex history through the eyes of genuine characters. It focuses on figures such as the infamous Price sisters, Marian and Dolours, who were I.R.A. militants and made headlines with their prison hunger strikes in the 1970s. Additionally, it explores Gerry Adams, a political leader known for facilitating peace in Northern Ireland, yet has faced allegations of involvement in crimes committed during the peak of the conflict.

In 2013, Keefe was motivated to write his book, following the reading of Dolours Price’s obituary. Later in her life, Price revealed the psychological impact of her I.R.A. activities and implicated Adams as the one who ordered attacks she had conducted. However, Adams has consistently denied any association with the paramilitary group, despite substantial evidence suggesting otherwise.

Keefe mentioned something intriguing right from the start: “What transpires when an individual was once a trailblazer for political extremism during their youth, and how they adapt as societal conditions evolve?

Beginning this Thursday, a thoughtfully crafted nine-part series produced by FX becomes available on Hulu. This gripping drama poses questions about healing a deeply divided nation, an issue that resonates deeply with contemporary American audiences. Creating an authentic and relatable portrayal of Northern Ireland, even for viewers who aren’t familiar with its geography, was a primary concern for Keefe, one of the series’ executive producers. He emphasized the importance of ensuring the story is engaging and accessible to those not well-versed in the Troubles.

The show, designed by Joshua Zetumer, is centered around characters Dolours (Lola Petticrew) and Marian (Hazel Doupe). These two, driven by their ideals, become increasingly disenchanted with peaceful protests against British rule. Emulating their Aunt Bridie (Eileen Walsh), who suffered blindness and disfigurement from an accident involving explosives in her youth, they are determined to be active contributors in the struggle, rather than mere bystanders.

In a guerrilla conflict, these individuals show equal dedication as their male counterparts, such as young Gerry Adams (Josh Finan) and his I.R.A. associate Brendan Hughes (Anthony Boyle). Both play significant yet secondary roles in the narrative. They remain resolute even when tasked with difficult duties, including orchestrating the deaths of close friends. Meanwhile, a different plotline follows the McConville children throughout the years, as they persistently work to break an unyielding wall of silence to reveal the truth regarding their mother’s fate.

Keefe explained, over breakfast at a hotel in Manhattan, New York, their intention is to get inside the minds of these young women who, in their late teens and early 20s, might choose to join a paramilitary organization, despite believing that peaceful protest may not be effective. They want us to empathize with them, yet also witness the consequences of their actions. This setting, a high-end hotel where a simple bowl of oatmeal costs $28, was a stark contrast to the conversation about hunger strikes in the series. The goal is to create enough sympathy so that viewers would understand these young women are not monsters, even if they made decisions we might not agree with ourselves.

In his own words, Zetumer, known for works like “Patriots Day,” found adapting the book to be “one of the toughest tasks I’ve faced as a writer.” The story’s focus shifted significantly, with many elements such as Hughes’ on-screen prison break and numerous hunger strikes being removed. Instead, the Price sisters’ journey of radicalization and remorse became the central narrative. As Zetumer put it, “We aimed to make every scene resonate deeply with the characters’ emotions.

In our predominantly American storytelling about Northern Ireland, the creative team placed great importance on maintaining authenticity. Lennox, a native Belfast resident who had previously contributed to the Troubles-themed comedy “Derry Girls,” played a crucial part in defining its tone, which was both somber and subtly humorous despite the grim backdrop.

Lennox received the book from a friend years back and, being a typical Irish native, initially doubted if someone outside their community could truly grasp its intricacies.

Initially, Lennox found himself questioning, “What authority does this person have to write a book about Northern Ireland?” However, he was eventually captivated. He shared that the idea was deeply touching for him. Upon learning that FX was planning a TV adaptation, he decided to make contact.

Lennox emphasized that it was crucial for us to capture the essence of Belfast, particularly through our casting choices. He had previously collaborated with Petticrew and Boyle, long-time friends from Catholic West Belfast who he cast in an anti-drug film a decade ago, and his influence played a significant role in their selection. Several members of the cast and crew shared ties with the real individuals depicted in the narrative. (However, this dedication to authenticity came with certain boundaries: Although some scenes were filmed on location in Belfast, which has grown as a film production site due to “Game of Thrones,” most of the shooting was done in England, partly to steer clear of upsetting residents by reenacting distressing events.)

In a Zoom conversation with Doupe, their fellow actor, Petticrew (who uses they/them pronouns) said, “Growing up in a place like that is just ordinary for me.” They added that they felt they could add an authentic touch to the role because of this shared background. Petticrew and Dolours attended the same school and came from similar upbringings. Deep within them, they knew it was their duty to take on the part.

In many instances, the characters seemed reminiscent to Petticrew. They confessed, “It was a double-edged sword; it was comforting yet stressful, as I felt a strong obligation to portray them accurately for everyone present.

In contrast to many actors brought up outside Belfast, Petticrew might have had a unique insight into why Dolours resorted to terrorism, as he could relate on a deep, emotional level to the colonized experience. At 28 years old, Petticrew is known as a “ceasefire baby,” belonging to a generation that matured amidst a fragile peace but continues to grapple with social division, economic disparity, and generational trauma. Before diving into the scripts, Petticrew had apprehensions about the show potentially oversimplifying the conflict, presenting it as “The Troubles are over, and this is our take on it.” However, they were pleasantly surprised by the show’s ability to navigate the gray areas. It portrays complex characters in challenging situations without passing judgment.

For Doupe, born at only 23 years old in the Republic of Ireland, the Troubles were uncharted ground. “Occasionally during my childhood, it seemed like something that was taking place in a different nation entirely,” she explained. “It always felt so distant and remote.

Even though she found herself connecting with Marian, the reserved yet feisty younger sister who admires Dolours’ fiery spirit, her role as an actor is not about endorsing all their actions. Instead, it’s about comprehending each action, leaving the judgement to the viewers. As the series progresses, their perspectives may shift, and at times, she might align with them, and other times not. And I believe that aspect of the role is truly captivating.

During filming, the actors formed a strong connection almost instantly, resembling an uncanny understanding by the end, according to Zetumer. This rapport helped Doupe and Petticrew navigate challenging times on set and significantly contributed to the narrative: the Price sisters exhibit an intense, codependent relationship that deepens further during their incarceration. (Doupe portrays Marian and Dolours as young women; Maxine Peake and Helen Behan play them in middle age.)

Say Nothing” stands out because unlike many other popular portrayals of The Troubles, which often center around male characters (such as “In the Name of the Father,” “Hunger”), it offers a female perspective. As Petticrew pointed out, “It’s narrated from the viewpoint of women who played a significant role in the events. In our upbringing, we were familiar with the 10 men who died during the hunger strike in ’81. However, those men wouldn’t have been able to endure their fate without the ordeals experienced by the Price sisters.

According to Zetumer, their motivations were rooted in an unconventional form of feminism, which considered the glass ceiling as being whether one was permitted to fire a weapon at a police officer.

Part of it centered around women’s equality, as Keefe expressed, “You know, things are shifting here, and we should have the same opportunities as men.” However, the Price sisters, Dolours and Marian, were also brought up by parents who held significant roles in Irish Republican circles. Essentially, they were seen as the natural candidates for groundbreaking opportunities within the IRA, given their lineage: “If anyone was likely to be the first woman to surpass all others, it would probably be Albert Price’s daughters.

In essence, “Say Anything” encapsulates the passionate ideologies that are typically found among the youthful: Marian, who is depicted as 17 during much of the series, and Dolours who was barely in her twenties. Over the past five years, while the show was being developed, it unfolded amidst events such as the Black Lives Matter protests.

In Zetumer’s words, “You’d observe the demonstrations, and at times, the one addressing the crowd through a megaphone would be seventeen. Our aim was to encapsulate the exhilaration of being a teen and becoming passionately involved in something.

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2024-11-14 14:37