The recent release of What Richard Did by Lenny Abrahamson (reviewed here) has prompted me to go back to look at his earlier release from 2007. Both this and his 2004 first feature Adam and Paul were on my radar but I hadn’t found time to watch them. I’m glad now that I finally made the effort.
Garage is set in an unnamed small town in rural Ireland (it seems to have been shot in several different parts of the country, but mainly in the ‘West Midlands’) and its central character is Josie (Pat Shortt), a 40 year-old man who ‘runs’ filling station/garage situated outside a small town on the main road. In reality he is mainly the caretaker as business is slack and we never see Josie actually serve anyone. He’s employed by one of his old schoolmates who is now an entrepreneur in the town and he lives a fairly solitary life, bedding down in a backroom of the garage. Josie is considered as a little ‘slow’ by the local community – but he is cheerful and friendly and most of the locals don’t make fun of him or abuse his trust. The one lout who does bully him in the bar is the exception. Josie’s life begins to change when his boss decides that there is more passing trade and that the garage should stay open longer. Consequently Josie is joined by an ‘assistant’, a shy and gawky 15 year-old, David. Well-played by Ryan O’Connor, David is a ‘blow-in’ to the small community and therefore initially an ‘outsider’ like Josie in social terms. He’s intelligent and sometimes a bit spiky – a ‘normal’ adolescent – but he gets on with Josie and they become friends. This friendship leads Josie into contacts with the other local teens and perhaps makes him reflect on his loneliness. Indirectly, David’s presence will lead to a series of tragic events.
My first thoughts about the film were that this was a low-budget European art film. There are no genre indications as such except towards the setting of the small town and its possibilities for drama. The town and the handful of local inhabitants are presented in a realist manner and my thoughts turned towards the Dardenne Brothers – but Garage doesn’t have quite the same intensity. A review I read mentioned Bresson. There is gentle humour in the initial representation of Josie’s mundane daily rituals and his contact with various characters. There is also a sense of the relative tranquility of rural Ireland and the potential for some kind of magic in the evening light – although the skies that Josie so enjoys seemed foreboding to me with their scudding clouds. Gradually however, we realise that happy though Josie appears to be in his own little world, he still seeks the possibility of intimacy in a relationship. Eventually too, we realise that Abrahamson is using Peter Robertson’s beautiful cinematography to compose shots very carefully and to look for various forms of symbolism in the mise en scène. The film is slow and nearly always calm. Pat Shortt’s performance is exceptional. He was first a comedian specialising in physical comedy and he uses the skills of a physical comedian to create a distinctive gait for his character, as well as an appropriate voice. His performance also has a resonance since he is well-known in Ireland for a comedy series set in the same kind of location as that in Garage.
I was a little surprised to read in the Press Pack this quote from Lenny Abrahamson:
“Josie is really a contemporary village idiot character but the Irish village doesn’t have any place for him anymore.”
I’m not sure I would use that term to describe a character in a contemporary drama. Of course, I know what he means but it does raise what might be the uncomfortable question at the centre of the film. If this is a realist depiction of Irish rural life, it suggests that there is no modern infrastructure to replace the traditional village community in what is usually seen as one of the more affluent and ‘developed’ societies in Europe. On the other hand, as events transpire, we might argue that the ‘regulation’ of contemporary society is what really makes Josie suffer – that and economic developments. The town’s residents who know Josie and tolerate him don’t really listen to him or help him with his problems. They are just glad that he seems happy. I was interested to read the range of IMDb comments. They include many Irish commentators, but also other Europeans. While most clearly liked the film and thought it praiseworthy, there are a couple of gainsayers, including one who argues that it isn’t a very good representation of a character with mild learning difficulties and another who argues that the residents are too morose and that the rural Irish are more likely to moan and get angry about their lot. These are fair points but as an arthouse film Garage works very well. The excellent production is enhanced by the presence of George Costigan in a small but vital role and Anne-Marie Duff as Carmel (who could probably act as a focus for another story). I can see why the film won one of the Cannes prizes and why Abrahamson and his collaborators are seen as one of Ireland’s most important filmmaking teams.
The final shot of this rather good trailer offers an example of the very effective lighting and composition: