Hall: Patriot Games vs. Devils Own

Patriot Games and The Devil's Own put forth different opinions within their plots, concerning the Provisional Irish Republican Army (the I.R.A.). The Patriot Games, "boldly presented the I.R.A. in an unflattering light" (Pfeiffer 202). Whereas Harrison Ford is reported as commenting, "The film was pretty unabashed in its admiration for the I.R.A. and all things Irish" (Pfeiffer 234). These opposing interpretations of the I.R.A.'s struggle against the Catholic Nationalists for Ireland's independence from the United Kingdom reflect the different ways in which the antagonists are portrayed within the two films. The level of villainy associated with the actions of the antagonists in each film, are also affected by the different character's portrayals and incentives. 

In Patriot Games, the I.R.A. itself is not necessarily the antagonizing forces within the film. However, it is a radical faction originally tied to the I.R.A. that attempts the attack on Lord William Holmes (Fox). While it is rather evident during a conversation between a member of the I.R.A. and Kevion O'Donnell (Bergin) that the other "brigade commanders" think that direct attacks upon the royals and ruling class. The fact that these people associate themselves with the purpose of the I.R.A. is damning to the I.R.A.'s image. 

This splinter I.R.A. group is first introduced when they attempt to assassinate the family of the British Secretary of State for Northern Ireland. This terrorist attempt is directly opposed to the value that American's place with the idea of a family and immediately creates a condemning image of evil within the audiences' mind. The most integral member of this faction is Sean Miller (Bean). He is directly involved with the attempt and watches the protagonist, Jack Ryan (Harrison) kill his little brother. This sets into action a feud between Ryan and Miller. 

The only redeemable aspects of Sean's situation is the audience's understanding of Sean's obvious feelings of being repressed by the United Kingdom (demonstrated when his is struck by a bad-mouthing detective) and general empathy towards his grief at the loss of his brother. Sean possess the qualities of loyalty to country and family, passion, and determination, but these qualities, usually admired by the American audience, are diminished and transformed into damning qualities that only serve to promote Sean's vilification. These qualities are what lead him to directly engage with violence towards the film's protagonist, Jack Ryan (Ford). The extremism of Sean's actions and his desire to kill the pregnant wife and child of Jack (two potential victims whose death would be the epitome of evil in America), expel feelings of empathy towards him, since his drive to destroy is now incited by a personal, specific desire for revenge.

Sean's damning intent is first voiced at his trial. Sean is dressed in dark somber clothes. Jack is also dressed in a dark blazer but his shirt is a light blue and there is light shining off his head (perhaps interpretational as a semblance of a halo designating righteousness). His face is a contrast of shadows and light throughout the film, culminating in almost complete shadow before his outburst at Jack. This enhancement of shadows demonstrate's Sean's growing intent to extract revenge. In the beginning of the courtroom scene, Jack and Sean are both off screen center with more social proximities between themselves and the camera. As the scene continues, the camera zooms slowly closer and closer to personal proximates and individual head shots of the antagonist and protagonist. This also increases the intensity of the situation, allowing the audience to grasp the vengeful nature that Sean will encompass throughout the movie. 

Contrasting Patriot Games, The Devil's Own puts forth a completely different introduction to the controversy between the nationalist and loyalist controversy. The antagonist, Francis "Frankie" McGuire (Pitt), is shown as a young boy enjoying an idyllic existence with his father. This is brought abruptly to an end when the father is shot down in front of Frankie and his family, because of his Irish republican sympathies. This scene in contrast to the opening scene of Frankie as an adult, causes the audience to view the I.R.A. as a group attempting to defend their country and take back their rights (a cause that the American audience can definitely get behind). This proposed idea of I.R.A. intentions, is reflected onto Frankie. Empathy towards Frankie is also more pronounced than in Patriot Games, as the audience is more inclined to empathize with a small child and that child's need to defend the beliefs that instigated his father's murder. Unlike the character of Sean Miller, Frankie does not specifically fight for revenge, he fights for a cause bigger than himself.

Despite the positive opinion that Frankie generates as an individual throughout the film, the actions that he takes to further his country's cause are not conducive to American ethics. This is prominently displayed through a reflection of the protagonist's, Tom O'Meara (Ford), code of ethics. Tom and his family becomes somewhat of a surrogate for what Frankie lost in the beginning of the film. Tom and Frankie's burgeoning relationship and the personal scenes which display Frankie's capacity for love, are starkly different from the scenes portraying Sean Miller as an individual whose only capacity is for anger, grief, and immorality. 

This scene demonstrates this sharp contrast: the close up camera proxemics of the frame, and the intimate proxemics of the characters demonstrate a close familiarity, trust, and happiness. Tom is the more dominant character within the frame because of his central location within it. His position seems to envelop his partner, Eddie (Blades), and Frankie within his protection and incorporate them into his world. The bright lighting of this shot enhances the idea of happiness, and good will. Nobody's face is contrasted in darkness and the equal plane and front facing shot point to them as possible equals. This analysis pertains more to Frankie and Tom than Eddie. Eddie is the only one dressed in somewhat dark colors, and the angle of the camera almost seems to denote a small distance from Tom despite their proximity. This could be foreshadowing to his later betrayal of Tom's trust and Tom's decision to protect him. Patriot Games does not demonstrate any scenes such as this one, constricting our ability to relate to Sean. The Devil's Own abundance of such scenes allows us to place Frankie in an additional reality, separate from the violence.