Why Sing Street Is A Great Dublin Movie.
Every great city has its great filmmakers, and Dublin is no exception.
A great Dublin movie doesn’t merely show off the landmarks, however, or sample the legendary wit – although it never hurts to do a little bit of both. It gets under the skin of the city, and captures its pulse, via that elusive quality some like to call movie magic.
There are any number of movies that showcase Dublin and its boroughs to fine effect, from ’70s cult classics like Flight Of The Doves and Quackser Fortune Has A Cousin In The Bronx to historical epics like Neil Jordan’s Michael Collins (which receives a theatrical re-release this month) and contemporary tales like Lenny Abrahamson’s debut Adam & Paul. Then there are all the films (or filums, in local parlance) where Dublin doubles for any number of eclectic global locations, from ’60s spy thriller The Man Who Came In From The Cold – where Smithfield doubles, rather convincingly, as Berlin’s Checkpoint Charlie – and Stanley Kubrick’s masterpiece Barry Lyndon, to recent arthouse sensation The Lobster.
Now we have Sing Street, from writer/director John Carney, a great Dublin film from a great Dublin filmmaker, and an ode to the city that already has critics and audiences alike in absolute raptures. It opened 2016’s Audi Dublin International Film Festival in fine effect, and is arguably the finest Dub-centric crowd-pleaser we’ve seen since Alan Parker’s seminal The Commitments; like that 1990 classic, it’s a musical, in this case a semi-autobiographical tale of teenage misfits making music in an eighties Dublin recreated in all its polyester glory.