The Problem with People

Writers: Paul Reiser and Wally Marzano-Lesnevich

Director: Chris Cottam

Early in The Problem with People, Barry (Paul Reiser who co-wrote the script with Wally Marzano-Lesnevich) watches his favourite movie- Local Hero. This feels like getting retaliation in before some Smart Alec points out the similarities between the two films.

The theme of The Problem with People is established in an opening montage of violence from around the globe demonstrating how grudges can fester and lead to conflict which can spiral out of control. On his deathbed, in rural Ireland Fergus (Des Keogh) recalls how, in a previous generation, two brothers from his family fell out and never spoke again. Fergus’s son, Ciáran (Colm Meaney), is unaware he has an estranged cousin, Barry, in America until his father demands he make contact and resolve the hard feelings. Typical of a film where things tend to move unrealistically smoothly Ciáran achieves this objective with a quick telephone call in which both parties agree to let bygones be bygones.

This is not enough for Fergus who insists Barry be invited to their village. Again, rather too easily, Barry accepts the invitation and enjoys meeting his new family and their community. All is well until Fergus passes and his will divides his estate equally between his son, Ciáran and newcomer, Barry. Suddenly Ciáran becomes aggrieved and sets out to cheat Barry of an inheritance of which he is unaware. When Barry discovers Ciáran’s manipulations he retaliates and the whole village is drawn into the argument.

Having set up the themes of the movie in the opening scenes director Chris Cottam proceeds to ignore them for what seems like a long time. The opening half hour or so is an amiable fish-out -of- water comedy involving a prosperous urban American’s bemused reactions to driving on the left hand side of the road and the charms of rural Ireland. There are the inevitable eccentrics in the community including an elderly lady who insists on recalling her youthful sexual exploits and an irritating pair of locals trying to master the American accent.

The argument in the past which lead to the problem within the family is shown in atmospheric sepia tones but seems a slight event to cause such animosity. This may be the point –conflict often originates in things which objectively are of little consequence and should, therefore, be capable of simple resolution. But the low-key revelation deprives the film of a dramatic incident to retain audience interest.

When the film gets around to showing conflict between the characters the change in tone is sharp and not entirely convincing. Ciáran has shown no signs of coveting his father’s wealth and does not seem especially ambitious but suddenly becomes resentful and manipulative. There is a parallel with the family’s past – Barry and Ciáran repeating the mistakes of their ancestors- but their actions are slight and comedic rather than damaging. There are distractions- one wonders how an urbanite like Barry is capable of herding sheep into Ciáran’s workplace.

It would not be so bad if the comedic elements compensated for the lack of dramatic interest but the slow pacing and general light tone lacks the momentum needed to generate big laughs. Even a classic sequence of Barry innocently and unknowingly flirting with Ciáran’s ex-wife does not tickle the funny bone. Paul Reiser and Colm Meaney work well together but it is easier to accept them as stumbling towards friendship than as enemies.

There are odd touches of acid in the film. A visitor to Fergus’s deathbed reports she wants to say ‘goodbye’ because she and Fergus do not like each other. A pair of toddlers playing in a sandpit leads to an inevitable homily on how innocent children instinctively avoid conflict by cooperating, which is undermined when one child gives the other a shove.

Having taken ages to get the plot moving, director Chris Cottam rushes towards the end and imposes a wish fulfilment Deus Ex Machina. Love conquers all and the story jumps forward (twice) to the future to show the happy outcome of events.

The Problem with People is an amiable film and it is impossible to object to the positive message about the futility of conflict. But considering the talented cast you can’t help but feel the film should simply have been funnier.

The Problem with People is in cinemas 8 November from Kaleidoscope Entertainment.