Beyond Keane’s stick-it-up-your-bollocks, there isn’t much else to Saipan | Jonathan Wilson
Why is the film of Ireland’s 2002 World Cup falling-out not a documentary but a drama that takes liberties with events? All history is to some extent narrative. You cannot tell a story without in some way editing it, reducing it, compressing it. Which means that anybody telling a story about a historical event, particularly one from the relatively recent past, risks outraging those who have studied it or who remember it. Often those complaints are pedantic, trivial, but sometimes they are not. It’s one thing to elide two minor characters or to tweak the timeline to simplify a story, quite another to imply misleading motivations. Saipan, Glenn Leyburn’s and Lisa Barros D’Sa’s film about the cataclysmic row between Roy Keane and Mick McCarthy shortly before the 2002 World Cup, came out in Ireland on Boxing Day and will be released in the UK on 23 January. It is obsessed by detail: the tracksuits, the sweatshirts, the kits are all right. It’s startling when the film cuts between reproductions of interviews and press conferences and actual footage to realise just how accurately these scenes have been recreated. Which raises two questions. What is the point? And how can such care have been taken over the look of the film when there are such grotesque inventions and inaccuracies in the plotting and motivation? Continue reading...
Why is the film of Ireland’s 2002 World Cup falling-out not a documentary but a drama that takes liberties with events?
All history is to some extent narrative. You cannot tell a story without in some way editing it, reducing it, compressing it. Which means that anybody telling a story about a historical event, particularly one from the relatively recent past, risks outraging those who have studied it or who remember it. Often those complaints are pedantic, trivial, but sometimes they are not. It’s one thing to elide two minor characters or to tweak the timeline to simplify a story, quite another to imply misleading motivations.
Saipan, Glenn Leyburn’s and Lisa Barros D’Sa’s film about the cataclysmic row between Roy Keane and Mick McCarthy shortly before the 2002 World Cup, came out in Ireland on Boxing Day and will be released in the UK on 23 January. It is obsessed by detail: the tracksuits, the sweatshirts, the kits are all right. It’s startling when the film cuts between reproductions of interviews and press conferences and actual footage to realise just how accurately these scenes have been recreated. Which raises two questions. What is the point? And how can such care have been taken over the look of the film when there are such grotesque inventions and inaccuracies in the plotting and motivation?