Rating
-
Cast & Crew
info:
Pierce Brosnan
Desmond Doyle
Julianna Margulies
Bernadette Beattie
Aidan Quinn
Nick Barron
Stephen Rea
Michael Beattie
Alan Bates
Thomas Connolly
John Lynch
Mr. Wolfe
Sophie Vavasseur
Evelyn Doyle
Produced by
Kevan Barker, Simon Bosanquet, Pierce Brosnan, Kieran Corrigan,
Eberhard Kayser, Mario Ohoven, Michael Ohoven, Cynthia A.
Palormo, Paul Pender and Beau St. Clair; Directed by
Bruce Beresford; Screenwritten by Paul Pender
Drama (Ireland/US);
Rated PG for thematic material and language; Running
Time - 94 Minutes
Official
Site
Domestic Release Date
December 25, 2002
Review Uploaded
12/27/02 |
Written
by DAVID KEYES
What a sweet, gentle and feisty movie "Evelyn"
is. And what an admirable little person its title heroine
turns out to be, a redheaded Irish girl who isn't afraid
to speak her mind and voice her concerns even if it means
certain punishment from her overly-strict superiors. At
the opening of the movie, which is based on true-life events
in the early 1950s, the vivacious Evelyn Doyle (Sophie Vavasseur)
and her two brothers are sent off into Irish orphanages
following the abandonment of their flaky mother, their father,
Desmond Doyle (Pierce Brosnan), seeing no need for the government
to resort to such actions because of his own availability
to raise them. Lifestyle and capability aside, however,
he simply can't avoid the harsh reality of Irish law: that
children are forbidden to live with just their fathers unless
consent is given from the mother as well, a requirement
that is challenged by the fact that dear old mom has seemingly
disappeared from radar.
Little Evelyn's confidence, though, simply can't be broken.
No, not even when she verbally attacks an Irish nun for
using force against a student and gets physically punished
as a result. Not even when the higher powers refuse to even
grant her father visiting rights. And not even when he goes
before the local courts petitioning for their return and
his denied, his chance to even appeal torn away from him
as a result. It's easy to see why the movie is named after
her rather than one of the movie's other characters; her
spirit and endurance are at the heart of the picture's central
themes, which could have easily been overplayed if they
had fallen into the hands of a cautious or insecure young
actress.
The movie is a bitingif somewhat formulaicattack
against Irish government, in which Desmond coverts himself
from an unemployed alcoholic into an upstanding member of
his society and launches a massive uphill legal assault
on laws and the courts. Meanwhile, he begins a relationship
with the witty and dashing bartender Bernadette Beattie
(Julianna Margulies), who, early on during one of his frequent
drinking binges, encourages him to seek out her brother
Michael Beattie (Stephen Rea), who is a lawyer and could
offer much-needed assistance in his pursuit to regain custody.
What Michael lacks in terms of legal maneuver, furthermore,
is picked up by other notable referrals: the American lawyer
Nick Barron (Aidan Quinn), who is a stickler for specifics,
and Thomas Connolly (Alan Bates), a retired man of the law
whose mere presence as a consultant could sway the deciding
vote from one of the three court justices.
The director of "Evelyn" is Bruce Beresford,
who made the charming "Driving Miss Daisy" and
the forgettable "Double Jeopardy," and here he
wisely balances his story with not just important courtroom
scenes and decisions, but conversations about the importance
of family and friends as well. His actors, likewise, do
a fairly solid job of exerting the material without seeming
like overachievers; Brosnan and Margulies have some likable
chemistry together and with other cast members, and little
Vavasseur herself is able to carry scenes independently
without seeming out of place or too branched from the root
of the premise.
Unfortunately, Paul Pender's script doesn't break any new
ground in terms of storytelling. The structure, for instance,
is clichéd down to the very first line of dialogue,
and there are even points when certain buildups are so obviously
thrown together that our reactions are drained before they're
even needed. But in the end, does that quibble really matter?
Not really. This is basically an honest and charming film,
not one of these overblown sappy courtroom dramas that have
you rolling your eyes at each and every sentimental plot
gimmick. In fact, by the end, I didn't even mind that Evelyn
is forced at one point by the screenplay to babble about
her "angel grandpa" being in the courtroom, the
bright sunlight from a nearby window conveniently falling
on her backside as she speaks about faith and hope keeping
families together no matter what obstacles the government
implements.
©
2002, David Keyes, Cinemaphile.org.
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