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<text id=94TT0322>
<title>
Mar. 21, 1994: The Arts & Media:Cinema
</title>
<history>
TIME--The Weekly Newsmagazine--1994
Mar. 21, 1994 Hard Times For Hillary
</history>
<article>
<source>Time Magazine</source>
<hdr>
THE ARTS & MEDIA, Page 69
Cinema
In The Name Of The Truth
</hdr>
<body>
<p> In Hollywood, as in war, truth is often the first casualty.
Stories told onscreen demand heroes, villains and an intelligible
plot line. Real life, on the other hand, tends to get messy--the lines between good and bad often cross. Two years ago,
director Oliver Stone was excoriated in the press for playing
fast and loose with certain facts in JFK. Jim Sheridan's In
the Name of the Father has largely escaped such criticism in
the U.S., but only because Americans are unfamiliar with the
story it is based on. In Britain, where people have lived with
the case of the Guildford Four for 20 years, the film's reception
has been considerably stormier.
</p>
<p> The movie tells the tale of Gerry Conlon, who along with three
other youths was falsely accused of killing five people in a
1974 I.R.A. bombing of two pubs in Guildford, England. The four--three men and a woman--served 14 years in prison before
their convictions were overturned. Seven friends and relatives
of Conlon's (the Maguire Seven), including his father, also
served many years on trumped-up charges of having made the bombs.
</p>
<p> Though Sheridan never set out to make a documentary, he has
been attacked for needlessly distorting the facts of the case.
The film, for instance, shows the Maguire Seven on trial with
the Guildford Four, though the cases were tried separately.
In some of its most affecting scenes, it shows Conlon, played
by Daniel Day-Lewis, sharing a jail cell with his father, though
the two were often not even in the same prison. A grand and
heroic part is carved for actress Emma Thompson, playing Conlon's
solicitor, Gareth Peirce, but in reality Peirce was a minor
figure and another attorney, Alastair Logan, deserves most of
the credit for freeing the Four. A pivotal scene in which Peirce
smuggles a crucial piece of suppressed evidence from a police
file was fabricated for the film; it was a police investigation
that uncovered the buried evidence of Conlon's innocence.
</p>
<p> Sheridan insists that he was seeking an "emotional honesty"
and that the real subject of his film was a son's changing relationship
with his father. But if that was his intended subject, say some
close to the case, the director should have used someone else's
story. "The truth is that Gerry Conlon had very little time
for his father," says Sean Smyth, an uncle. "It's a good film,
well acted and everything," concedes Conlon's aunt, Anne Maguire.
"But I think if they'd put more of the true facts in, it would
have been a much more powerful film."
</p>
<p> By Elizabeth L. Bland. Reported by Michael Brunton/London
</p>
</body>
</article>
</text>