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Title: Cardboard Gangsters
Cardboard Gangsters Director: Mark O’Connor
Cardboard Gangsters Writers: Mark O’Connor and John Connors
Cardboard Gangsters Starring: John Connors as Jason Connolly, Fionn Walton as Dano, Kierston Wareing as Kim Murphy, Jimmy Smallhorne as Derra Murphy.
Remainder of cast listed alphabetically: Paul Alwright … Glenner, Alan Clinch … Whacker, Stephen Clinch … Ross Kelly, John Dalessandro … Lukey, Damien Dempsey … Curley Murphy, Gemma-Leah Devereux … Roisin, Kyle Bradley Donaldson … Stephen Kelly, Graham Earley … Evers Dempsey, Tristan Heanue … Kieran, Fionna Hewitt-Twamley … Angela Connolly, Ryan Lincoln … Cobbi, Ciaran McCabe … Sean Murphy, Lydia McGuinness … Christina, Corey McKinley … Micka Dempsey, Laura Murray … Mrs. Wilson, Aaron Blake O’Connell … Wilson, Toni O’Rourke … Sarah, Cathal Pendred … Security Officer, Robbie Walsh … House Gangster.
Duration: 92 minutes
Cardboard Gangsters story
The Irish crime drama Cardboard Gangsters plots the story of a Dublin community, Darndale, and the infiltration of drugs into its streets and homes. The culture is at epidemic proportions across Dublin with a crime base largely destroying the communities they were brought up in and now have drug overlords with patches to deal and exploit.
Feuds are common with assainations, kidnappings, overseas gang warfare and a public caught in the crossfire. It’s little wonder Mark O’Connor and John Connors want to tackle this subject and give it a treatment which delves into the minutiae of the drugs trade and the fall out as a reality met daily. Matt O’Connor, into his fourth feature, is a conscientious socially driven Director whose film making promises a format which is well paced, as this is, full of good characterisations, which this has, follows social reality without compromise and tailors a crew and cast to deliver striking stand out films.
This is one which sets out with those same intentions. The drawback is it falls into too many cliches and formulaic characterisations filling Cardboard Gangsters story with very strong emotional drivers and brilliant performances yet labours with the one dimensional menu.
Unparalleled Mother Son performances.
Jay Connolly played superbly by joint writer John Connors just has too narrow a set of markers to put down. He plays a 26 year old who is unemployed and is a part time DJ at nightclubs were drugs are an entry requirement. He makes little money on this skill but has a sideline dealing in soft recreational drugs plus some cocaine.
He and his mates are similarly banjacksd by the country, city they live in which has cardboard cut out capitalism on every billboard franked by the receipts of the lowest corporate tax rates anywhere which shored up a decrepit and corrupt government over decades of sham luxury development and high escalating property prices. It began with Zoe Developments and never stopped until the 2008 crash and they wound the windows down and let out the stink of corruption which enveloped the whole shebang – the money trailer they all were on board.
The stench was smelt across Europe to the US and the EU Bank removed Irish sovereignty as penance while debts were written off and money trails led everywhere with few debtors thrown into prison.
Nama was born as was austerity. Jay and his friends live off dole money and it doesn’t last long as most of them are into drugs in a small way to escape the mill grinding them into the ground. Jay is reported for ‘working’ as a DJ and he merits loosing any income he has through welfare while an investigation ensues.
This is a major problem and he lives with his widowed mother Angela, played by a very soulful Fionna Hewitt-Twamley and the two share a pragmatic, but despairing state of limbo. His mother is watchful of him and knows the local criminal background. The background which took away his father. Both are still in grief after five or so years and it is not getting any easier.
Early hopes of escape
When the film opens we see four lifelong friends as young boys of about seven and their lives are semi feral as the wilderness as well as derelict buildings, heaps of builders rubble and eventually the woods around their North Dublin homes.
The shift is swift to the present, as they stroll around the Darndale streets, weighing up the pros and cons of various criminal enterprises they rotate in their minds. As things take that change of direction for Jay, no income, he is in desperate need of cash and his mother is not managing either which he is quick to spot. Both are pivotal in this film and one of its strongest parts is their relationship. They are born with this part of Dublin as an unshift-able genus loci of all of their live’s. God does not feature as a healer for either but his mother has a mothers belief that – if she is true to herself and carries the sacrifices for which she has no reward – except Jay’s unconditional love – then there is no counter alternative. Love and God’s, a spirits, unseen presence, imagined everywhere.
Whatever the conditions are there is almost an unwritten law held within that life/death exist in parallel for reasons beyond them all. The version preached by the Catholic Church up to a point when their debased behavior came back to confront them was the version most families relied on but it’s far from the simple form of love and peace Jays mum is clinging onto mentally.
Now Jay reaches a crossroads and their is no turning back. The poster says ‘Take back what’s yours‘ yet we do not know in all truth what that could actually refer to. Drugs most instinctively – obviously alluding to their patch – but also take back the stolen respect and dignity and is another John Connors cause célèbre which it is very hard to tease this out with this narrative, despite the presence of ever component of the drugs trade and its immorality and tragic effects on all who come in touch with it. Undeniably the intentions to go deeper using Cardboard Gangsters story vehicle are there.