Like Alan Parker’s fantastic 1991 drama The Commitments, Kneecap tells the story of an Irish band from humble working-class beginnings. But unlike that film, which was based on a Roddy Doyle novel, Kneecap is drawn from a real-life story. Kneecap is a profane, hyperenergetic drama about an Irish hip-hop trio who found themselves at the front of the culture wars in Belfast in the twenty first century. The three band members Moglai Bap, Mo Chara and DJ Provai play themselves here – a pair of wannabe rappers and a burnt-out music teacher – which further adds to the verisimilitude of the material. They make for a potent combination.
Liam Óg Ó Hannaidh and Naoise Ó Cairealláin (who play themselves) were raised in the Gaeltacht quarter of Belfast. They were taught to speak Irish by their father Arlo (Michael Fassbender), a former republican paramilitary who faked his own death to hide from the authorities. For him the Irish language was also a form of protest and resistance against the British authorities and was as “powerful as a bullet.”
One night after a rave Liam is arrested and detained. He refuses to speak English while being questioned. The police bring in J J Ó Dochartaigh (also playing himself), a mild mannered and disillusioned music teacher from a nearby school to act as a translator.
During the interview J J spies Liam’s notebook in which he has written down his lyrics. J J is impressed by the passionate and angry lyrics and convinces the pair to set them down to hip hop music believing that this is an ideal way to bring the Irish language to a wider audience. He records a song in his small garage studio. The band gains popularity, but also attain notoriety amidst the politically charged environment with a movement to introduce an Irish Language Act into Parliament.
The film taps into some potent contemporary political themes as it also deals with the importance of language and culture, identity, and the power of language and music to bring about societal change. “A country without a language is only half a country,” says one character here, which will resonate with audiences from those countries that have been colonised and slowly stripped of their native tongue and traditions. The film has deliberately shot using Irish dialogue and English subtitles.
Kneecap is the debut feature film for British writer/director Rick Peppiatt, who comes from a background in short films and documentaries. He conceived the idea for the film in 2019 when he saw the band perform in Belfast. He also shot the music video for their song Guilty Conscience. He draws on his documentary background to shape the film, which is full of a scrappy and raucous energy, an angry tone, irreverent and bawdy humour and a great hip hop soundtrack. The hip-hop concert sequences crackle with an electric energy. But he also takes some liberties with the facts for dramatic purposes.
His approach and stylistic touches are reminiscent of Trainspotting. He also uses a couple of animated sequences, a bit of claymation from Stephen McCollum (the cult You Tube series Pullin’ The Devil By The Tail), and some visual effects for a couple of drugged out party sequences. Ryan Kenaghan’s cinematography is stylish.
Most of the cast are largely unknown but they bring a freshness and enthusiasm to their performances which enhance the material. Fassbender brings his usual intensity to his small but important role. Simone Kirby is solid as Dolores, the boys’ mother who suffers from agoraphobia, but she gets her What’s Eating Gilbert Grape?-like moment. Josie Walker brings a fierce quality and hint of menace to her role as the officous and humourless police detective Ellis.
Kneecap is unapologetically in your face, energetic and loud, although it is probably not a film that will hold broad appeal.
Greg King
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Greg King has had a life long love of films. He has been reviewing popular films for over 15 years. Since 1994, he has been the film reviewer for BEAT magazine. His reviews have also appeared in the Herald Sun newspaper, S-Press, Stage Whispers, and a number of other magazines, newspapers and web sites. Greg contributes to The Blurb on film
