Review of Ash Wednesday

Introduction

Set precisely on Ash Wednesday 1983 in Hell`s Kitchen, West Manhattan, NYC, this is Ed Burns fifth movie as Director / Lead Actor and is very different from his investor pleasing romantic comedies (like `She`s the One` or `Sidewalks of New York` for example).

There`s no doubt that, in a leading role as well as in the Director`s chair, that he`s very talented indeed. Sadly though, this 2002 film is let down by bad casting - and sadly as a consequence it remains a movie that never quite fulfils its considerable potential.

The film is set within the space of a single day (and I think this might just pre-date `24` in that respect…) in an almost exclusively Irish part of NYC, Hell`s Kitchen on Manhattan`s West side. This is a fiercely Catholic neighbourhood where everyday life is closely intertwined with religion.

Ed Burns plays the part of the older brother, Francis Sullivan, a tough, mega-cool barman now reformed (or so it would seem) from a brutal life of crime. Three years earlier, to the day, his younger brother Sean (played unconvincingly by Elijah Wood, here without the aid of his hobbit uncle) overheard a group of thugs plotting to `hit` his older brother. Fearing for his brother`s life, he follows them into the gents and pumps them full of lead. He then disappears until his arm washes up on the shore of the East River (identified as such as it`s wearing his wrist-watch).

In the light of all the violence, as well as his brother`s untimely end, Francis amends his way of life and settles down to become an honest Joe, avoiding conflict and looking after his kid brother`s wife and child in the process. And that`s that. No more Elijah Wood. Or so I thought.

Only Sean suddenly reappears on the scene, spotted like an elusive ghost hanging round the old haunts and asking after his wife. And it`s not long till the word hits the streets and there are plenty that want to make sure that the killer of the three men stays dead. The truth is that Sean couldn`t stand to be away from the old hood, despite the danger and he resurfaces - now holed up in Francis apartment. And so the scene is set for much moody Irish action as the cast strut through the mean streets, all with the dot of ash in the centre of their foreheads reminding you of the religious context as well as the fact that the whole movie covers just a single day.

Video

The picture quality is actually very good, although the disc wouldn`t play past the production company logo on the first two players I tried this on. There is much in the way of dark, low contrast shots here so every opportunity to foul up the transfer which, to their credit, they`ve masterfully avoided here with a near perfect print. 2.35:1 wide-screen too.

Audio

Fine if unremarkable. The period music is good and some of the rear atmospherics work nicely, as well as some of the music wash.

Features

What`s Irish for `bugger all`? I believe that there are other versions available but this no frills package isn`t dishing out anything more than the main feature and some sub-title options.

Conclusion

I was ready to like this next chapter in the very individualistic Ed Burns canon. After all, this was another move away from his perfectly acceptable romantic comedies, and was a film that would allow him to really immerse himself in the history and atmosphere of his beloved Irish West Manhattan.

There`s no doubt that, on paper, this movie has a great plot, and it would be churlish to complain that the whole movie is a dud as there are some quite good moments - not least Burns evocative scenes with Mahoney (Malachay McCourt), the seen-it all, heard it all world-weary neighbourhood priest. And Grace, Sean`s wife, who remains unaware of his return from the grave, is very convincing in her role as the confused and principled wife who has been taking all the comfort she can get from older brother Francis.

But Russell Fine`s deliberately stylised camerawork gets in the way more often than not (with its shoulder-held whip pans and cinema-verite feel) and Elijah Wood is hopelessly mis-cast in his role as the frustrated younger brother. His character has none of the moody fire and spit that Burn`s manages and Wood seems drippily doe eyed and unconvincing throughout.

As a result, what could have been a very fine movie and a left of field masterpiece merely limps across the finishing line in a most unsatisfying way.