US 版
Review
Belfast, review: Jamie Dornan 向こうずねs in Kenneth Branagh’s tale of growing up in the Troubles
This autobiographical period piece is oddly impersonal, but the cast, and one marvellous scene in a social club, make it 価値（がある） catching
The young boy 星／主役にするs up at his father on the social club 行う／開催する／段階. Crooning along to ‘Everlasting Love’ in his shirtsleeves and tie, the man looks for all the world like a matinee idol. (That he’s played by Jamie Dornan doesn’t 傷つける.) 一方／合間, on the dance 床に打ち倒す, the boy’s mother pogos and spins in a sleeveless dress, as the lighting 認めるs her the silver-lined silhouette of a starlet. (Again, it helps that she’s played by Outlander’s Caitr?ona Balfe.)?
A family funeral has just taken place, but the 転換 from grief to 救済 has already begun ? and the boy, whose 指名する is Buddy (Jude Hill), is drinking in both the ritual 捕まらないで and the glow of fondness between his parents it has 再燃するd. This scene occurs around three ４半期/4分の1s of the way through Kenneth Branagh’s Belfast, and is so tender and 入り口ing that it 選び出す／独身-handedly 正当化するs the whole film’s 存在. But it also belatedly makes you realise how many tricks are 行方不明になるd throughout the 残り／休憩（する） of this autobiographically skewed period piece, about a nine-year-old lad growing up in its writer-director’s hometown in 1969, as the Troubles first ゆらめくd.?
It opens with a 十分な-colour, tourist-board-like glide around the 現在の-day city, but after a minute or two, the camera hops over a 塀で囲む and into the 黒人／ボイコット-and-white past. It’s here that Buddy is about to を受ける a grimly formative experience, as a scene of neighbourly 友好 is 粉々にするd by the arrival of a 暴徒, who want to 運動 his street’s 少数，小数派 of カトリック教徒 居住（者）s from their homes. The scene is tensely and persuasively 行う／開催する／段階d, but it’s 著名な for 存在 one of the few that feels like it authentically 逮捕（する）s a young boy’s experience: どこかよそで, Branagh tends to plump for 劇の compositions that look 逮捕（する）ing but feel like the opposite of a kid’s-注目する，もくろむ-見解（をとる）. The politics, 一方／合間, are far more childl ike, with the 衝突 portrayed as 宗教的な rather than nationalistic in nature, and no opinion 投機・賭けるd beyond “分割s are bad”.
That’s enough for Belfast’s 目的, which is to sketch さまざまな coming-of-age moments (a classroom 鎮圧する, parental money worries, a 解雇する／砲火／射撃-and-brimstone sermon, and so on) over a 背景 of brewing 不安. It’s done here with かなり more artfulness and sensitivity than it was in 2019’s Jojo Rabbit, in which the 大破壊／大虐殺 was 減ずるd to a source of quick-直す／買収する，八百長をする historical gravitas. But even so, Belfast’s flights of nostalgia can feel oddly impersonal. The script is laden with lines and jokes you’ve heard many times before, and you can often sense Branagh coaching his (極端に 削減（する）) young lead’s 業績／成果 from just out of 発射.
But Dornan and Balfe are wonderful as the imperfect-but-loving parents doing their best, while as Dornan’s own Ma and Pa, Judi Dench and Ciar?n Hinds 配達する 産業の 量s of twinkle. At its best, Belfast 解任するs Hope and Glory, John Boorman’s 1987 film based on its director’s own Blitz-乱打するd childhood. In one of many awards-montage-ready sequences, Dench rheumily 解任するs 製図／抽選 偽の 在庫／株ing seams on the 支援するs of her 脚s in her 青年 ? surely a nod to the scene in Boorman’s film in which the young lead’s boy-mad sister does 正確に／まさに that. 一方／合間, colour sporadically 爆発するs across the 審査する during Buddy's Cinema Paradiso-like trips to the pictures and the theatre, where films and plays 広げる in vivid, life-濃厚にするing hues. There’s an entire world out there waiting for him ? and perhaps その上の ones waiting to form inside his 長，率いる, as they did in Branagh’s own. It’s a pity this one isn’t a little more 独特の and はっきりと honed.
12A cert, 108 min.?In cinemas from January 21