A bold combination of Shakespeare, The Godfather, On the Waterfront, Knuckle and a Prime Time special, Mark O’Connor’s drama about two warring Traveller clans is far from an exercise in subtlety, with merits as bold as its flaws.

O’Connor’s follow up to Between The Canals once more sees him tackling the underbelly of a particular sect of society, and understandably he again casts two of Ireland’s most talented young actors; Love/Hate’s Peter Coonan and Stephen Jones. The brilliantly gonzo and irrepressible Coonan plays an adopted member of the Pavee Moorehouse family, who are at war with rival clan the Powers. But when the Moorehouse’s heir apparent John Paul (John Connors) falls in love with a Powers girl and falls out of favour with his Uncle Francis (Michael Collins), it seems the family may self-destruct. Meanwhile, Jones plays a politician trying to appease local farmers by moving the Travellers off their land.
O’Connor’s drama begins as dramatically as it means to continue, as a sit-down between police, politicians and Pavees becomes a swirling, suspenseful homage to Coppola’s Godfather. The director’s flair is also seen during the vicious bare-knuckle fight sequences, while his comic eye lends itself to much-needed lighter moments, including Coonan’s struggle to turn a guileless nag into a noble steed. O’Connor also adds authenticity to his tale by having Traveller actors appear in both major and supporting roles.
However, the melodramatic allusions to Romeo and Juliet and Hamlet can often feel hammy; as can some of the amateur acting and one-dimensional supporting characters. Despite the talents of Coonan and Collins, O’Connor’s talent for social realism would shine brighter with a more understated project.