As the trailer emerged for this Mumsey pleasing movie, you sit there and think do we really need another film like this? Is it worth Maggie Smith getting out of bed for this one?
The answer isn’t as straight forward. After absorbing this pleasantly heartwarming flick albeit, we can offer this warning: even Professor Mcgonagall can’t magic her way out this sickeningly sweet affair.
Thaddeus O’Sullivan directs The Miracle Club, a touching drama about three generations of women who embark on a spiritual journey of enlightenment and forgiveness. From the get go, this film exudes comfort and charisma as we follow the women of Ballygar from Dublin as they experience a well-earned dose of freedom by winning a pilgrimage to the holy French town of Lourdes. Yet, it becomes quickly apparent, greater strings are being pulled as we discover their local priest has fixed the cards and orchestrated this once-in-a-lifetime opportunity and for some, potentially the last chance to take it.
The safe and familiar faces of this ensemble cast, including Laura Linney, Kathy Bates, and Dame Maggie Smith, handle sensitive topics such as miscarriage, bereavement, and terminal illness with grace, empathy, and a touching display of sisterly solidarity all wrapped up in a bow of comedy. Alongside tackling potentially triggering subjects; this film presents a charmingly traditional depiction of a community coming together during tough times, interwoven with rustic wit and a delightful touch of Irish charm. Despite the occasional wavering of Irish accents during moments of heightened emotion, the universally captivating performances keep the audience engaged throughout.
It goes without saying that this film features a powerful cast, including both Oscar-winning and nominated actors alongside talented rising stars. Rather than shamelessly manipulating the audience’s emotions, the film subtly addresses challenging subjects with a delicate touch. One thing this film gets right, is the normality of these characters, making them utterly human, battling a number of aforementioned life experiences including the focus on Chrissie, played by Ozark’s Linney who enters into this narrative after 40 years of being ostracized by her friends and family for getting pregnant as a teenager to attend her mother’s funeral. Faced with many sharp tongues and hostility, not to mention an Irish American dig now and then, this unfolds into a story of forgiveness as well as self-development. I just hope I’m never in the firing line of Bates’, Eileen and Smith’s Lily after pissing them off.
The production design is also noteworthy, effectively capturing and representing Ireland in the late 60’s; an era marked by rigid gender roles where men worked outside the home while women multitasked by caring for their families, managing household chores, and preparing hearty home-cooked meals at the end of the day. Overall, Director O’Sullivan takes a patient approach to scenes of reconciliation, allowing them to unfold naturally without haste however, despite the 90-minute run time this could have easily been a short film.
