Tim Mielants’ cinematic adaptation of “Small Things Like These” has reached the audience with a poignant message, anchored through the remarkable performance of Academy Award winner Cillian Murphy as a coal merchant. This film captures the multifaceted struggle of a man, Bill Furlong, against a backdrop of societal pressures and moral dilemmas regarding his community’s dark secrets—specifically those revolving around The Magdalene Laundries. Murphy’s portrayal is both tender and harrowing, providing audiences with a compelling exploration of the human spirit amidst systemic oppression. He is a poignant exploration of morality, resilience, and the human capacity for empathy set against the haunting backdrop of the church-led institution, The Magdalene Laundries, in 1980s Ireland. Murphy surpasses the typical expectations and demonstrates exceptional acting, akin to that of Tommy Shelby in Peaky Blinder and the masterful acting of physicist J. Robert Oppenheimer.
The narrative unfolds with a deliberate pacing, allowing the audience to deeply connect with Furlong’s internal conflict. His routine deliveries to the convent become a powerful metaphor for the choices we make daily, facing the juxtaposition of self-preservation against the courage it takes to stand for what is right. He has the heart to see the small things around the Irish town of New Rose, whether he is a sad little boy walking on the street far from home or Sarah, the young girl in the convent.
Bill Furlong is a laconic man, a father of five girls, and the husband of Eileen Furlong portrayed by Eileen Welsh. The non-verbal film, as Cillian Murphy says in his interview, portrays the actors’ emotions through their posture and gestures, and their eyes serve as a canvas, allowing us to observe the world through Bill’s eyes, whether he is a child witnessing his mother’s struggles or a mature man striving to provide for his family. However, amid his routine, he unexpectedly witnesses some extraordinary events taking place in the convent. He witnesses a girl yelling outside the building and refusing to enter it, despite her mother’s attempts to persuade her to enter and seek forgiveness from God and the church system. However, it is not the place to give the service; it is where women are being abused in different ways, and the scandal of the Magdalene Laundries run by the Catholic religious order unraveled years later when the women massively suffered.
Meilants demonstrates a keen understanding of character development, inviting viewers to witness Bill’s evolution aimed at external pressure. However, some may argue that the feeling leans too heavily on Bill’s perspective, potentially sidelining the voices of the women who endure the brunt of oppression. The film does showcase the plight of “fallen” women, yet one might contend that a more direct exploration of their stories could enrich the narrative tapestry further, allowing for a more comprehensive understanding of their experience. However, the
director does not intend to elucidate the specifics of the location or highlight the particular events that occur there. He depicts Bill’s understanding: a working-class man who tries to penetrate the wall of reality to understand the truth. Emily Watson’s performance of Bill and sister Mary creates an ambiguous interaction, leaving us in a state of silence and dilemma as he tries to understand what is happening. I believe this is a deliberate choice by the director. We could potentially perceive this as a flaw in the film, as it creates a veil that obstructs our view. The mystery captivates our attention, and who can deny the power of the unknown?
The film does not feature a significant amount of dialogue; instead, it weaves us through layers of meaning. The brief conversation between Bill and his wife, the occasional episodes of insomnia, and the flashbacks to Bill’s childhood all work together to guide us through Bill’s mind and reveal his struggles. However, Cillian Murphy’s brilliance played a crucial role in shaping these struggles. With slumped shoulders, rough black hands that he cleans every day after returning home, and a shaky stance, he looks at us with silent comprehension, as if we did not realize what was going on around us. Bill is present in the quiet to remind us that every look and tiny deed may be decisive and salvific.
Small Things Like These, with its subtle cinematography and muted colour palette, enhances the oppressive atmosphere by reflecting the weighty secrets that haunt the town. The film’s pacing, deliberate and contemplative, allows the audience to fully absorb the gravity of Bill’s plight, creating attention that simmers throughout the latter half of the narrative. What makes Small Things like These particularly significant is its ability to invoke empathy and reflection without resorting to melodrama. Mielant refrains from overt dramatisation; instead, he invites the viewer to wrestle with their own perceptions of morality and complexity. This approach is poignant, underscoring the cinematic principle that silence and stillness can sometimes reveal the most profound truths.
One cannot discuss this film without addressing the critical societal commentary involving women’s rights within the context of historical Irish culture. The Magdalene Laundries serve as a poignant reminder of a troubling period in Ireland’s history, during which women frequently faced ostracism, stigmatization as whores, or accusations of moral corruption merely for pursuing autonomy in their lives. Mielants deftly directs attention not only to the victims of these institutions but also to the broader implications of systemic failures that allow such abuses to continue unchecked. The film acts as a historical reminder while simultaneously echoing current issues faced by women around the globe.
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