The Tiger's Tail (2006) Reviews

• Double take

  jotix1002010-12-02

  Watching this film, shown recently on a cable channel, and the reality of what is going on in Ireland at the present time, seems, in a way, a sort of metaphor for the boom the country experienced in the past two, or three decades. Sadly, what goes up so quickly has a tendency to come crashing down, as it is the case of the latest state of affairs, not only in Ireland, but in other countries as well. Liam O'Leary is a successful entrepreneur that faces opposition to his latest project, a world class soccer stadium. Liam is living the kind of life of a new rich person. As we meet him, he is driving home stuck in one of those traffic jams so typical of big cities during rush hour. He must get home to change and go to a dinner where he is being given an award fro his achievements. Home life is a mess. His wife, Jane, is bored with her husband, as well as with her life. The excesses have not given her the kind of life one feels she wanted. Connor, his teenager son, hates his father because he has given him the so many material things he is bored and has turned into liking communism, as a sort of protest against his self-made man. Liam, who is edgy because of the turn of events in his financial world, one day discovers he is being follow by a man that looks just like him. That brings him to a visit to his aging mother to inquire about whether he was an adopted son. The revelation from his mother devastates Liam, who has been oblivious to some signs that would have given him a clue as to this part of his life. John Boorman, the director, also wrote the screenplay. The film reunites him with Brendan Gleeson, a man that has done excellent work for the director. The film resonates because it shows the machinations behind a successful man that now has to pay dearly for what he built. He has wasted his life in the pursuit of wealth, not only for himself, but for his wife and son as well. Instead of the respect he feels he deserves he has to face a past he never knew, plus a man that is exactly a replica of himself, but with a somewhat criminal trait. Liam has ultimately to confront reality in order to move on, not before making peace at home. Brendan Gleeson is the whole reason for watching "The Tiger's Tail". He is an actor who always delivers. He makes a tremendous impression in a double role which shows two sides of a personality. Kim Cattrall appears as Liam's wife, Jane, and Brian Gleeson, who is the lead man's own son, is seen as his son Connor. In the supporting cast, Sinead O'Connor shines. Ciaran Hands also graces the film with his valuable presence.

• Enjoyed it

  patcal2006-11-21

  I have read some of the different opinions here and I concede that some of the points made could be relevant to this film. Most modern films do very little for me (I've been filmgoing since the 1950's) but I really enjoyed this film immensely with the possible exception of the way the "situation" was resolved in the end. However, most people could probably think of a hundred ways to end this one so I accept the one chosen. The acting was first class, Seamus Deasy's photography was spot on and Stephen McKeon's wonderful score raised it all a notch or two. What a refreshing break from the ear-bashing, grossly offensive noise that passes for film music these days. I give it 7 because, quite simply, I enjoyed it and that's what counts in the end, not who didn't speak very well, who was or wasn't liked in it and how bad Irish society is today.

• Can't Put My Finger On It...

  vip-danii2016-11-14

  I'm not sure whether this movie was good or not, but I kind of liked it. It was peculiar, but in a good way (not like Solondz's Wiener-Dog I saw recently). The "Celtic Tiger" part was of no relevance to me - I wouldn't know whether it portrayed 2006 Ireland accurately or not; I was viewing this movie as a regular stalker flick, and, as such, it was quite engaging. The acting was good, especially by the lead male. Kim Cattrall's role was not a major one, so her accent didn't bother me, especially since everyone in the movie had sort of a "neutral" accent. Having been to Ireland, I can say that none of the people in the movie sounded like the natives I met on my trip to Ireland. The set-up was very good and engaging, but the movie declined significantly upon the doubles's entering the protagonist's house. There is no way something like this would happen in real life. It was just not believable. I was also sort of offended by the way they chose to portray the wife - as though they were trying to say that women are generally dumb and shallow, and the only thing they care about is for a man to pay attention to them. This is inaccurate and there is no way a wife would mistake a stranger for her husband of many years. Perhaps they were meant to imply that Jane knew all along that it was the double (if so, I must have missed it), in which case, perhaps, I would have seen it differently. The ending was also kind of weird, but very original and somewhat satisfying and thought-provoking. All in all, an enjoyable movie, and definitely superior to many a stalker flick I've seen lately. Would recommend.

• Good entertainment

  johno-212007-01-24

  I recently saw this at the 2007 Palm Springs International Film Festival for it's North American premiere. Director/writer John Boorman has had a very sporadic directorial career making only 15 feature length films between 1965 and 2006 including this, his latest offering. Boorman has rarely enjoyed the success that struck early in his career with such films as Point Blank, Hell in the Pacific and his biggest to date Deliverance. This time around Boorman has delivered a black comedy set in Ireland where Liam O'Leary (Brendan Gleesan) plays a wealthy real estate developer who's new found wealth has come through hard work and determination but is also costing him a loveless marriage to his wife Jane (Kim Catrell), an indifferent rebellious son Connor (real-life son Brian Gleeson), and he is overextended with his bank and battling with a rival developer and flirting with a nervous breakdown. Liam begins to think he is going mad when he starts seeing his double. Gleeson is very good in the double role of Liam and his double. Catrall drifts in and out of an Irish accent but it's not that pronounced of an accent to begin with to be bothersome to the viewer or detracting from the story. Brian Gleeson turns in a fine first screen debut. This is not a great film and not without it's flaws but it's got some great peripheral support players in the cast and good story with some witty moments. I liked it. It's got kind of a 1940's Hollywood B movie quality to it although set in modern times. I would give it a 7.5 out of 10 and it's worth a look.

• Imbalanced but enjoyable social critique of a thriller

  pyrocitor2008-08-06

  Weaving in philosophical quandaries of doppelganger definitions of self with taut suspense and scathing social commentary, writer/director John Boorman's latest film dripped with promise. And while this may have been a promise superseded by the film's overambitious reach, The Tiger's Tail proves an entertaining amalgamation, despite the frequent creative misfires. Boasting an intriguing premise, the film is at its strongest when dealing with the central plot thread of a wealthy Irish businessman (Gleeson) having his comfortable life usurped by his violently unpredictable twin (also Gleeson), falling into destitution in the process. This effective, almost Hitchcockian thriller toying with notions of doppelgangers, sense of self and definition of identity makes for a sturdy start, which sadly ends all too soon, falling short of the taut suspense piece it could have been. After this central storyline has run its course, the film begins to waver, jerking around with contrived plot twists and becoming somewhat of a confused muddle before culminating in a genuinely unorthodox if unsatisfying ending. Imbalance is the word of choice as the film's tone and plot flip-flop throughout, stuffing in as much social critique into the narrative as possible and slathering everything on rather thickly, from the central theme of the rich/poor divide (though whether Ireland's is truly the most dramatically so in all of Europe, as the film states is questionable) to the soaring crescendo of dramatic music, while underplaying the development of other intriguing plot threads (O'Leary seems oddly unsurprised by the unnerving discovery of his secret sordid past) to underwhelming effect. However, director Boorman excels in his less than flattering, darkly satirical depiction of contemporary Dublin: indeed "a land Joyce would hardly recognize" and a far cry from the country's usual romanticized cinematic portrayals. Boorman's Dublin is a rank, filthy place more akin to the worst days of New York, filled with poverty, destitution, endless traffic, street-fights and vomiting teens - a city who would whimsically release their entire supply of non-violent mental patients onto the street to cut costs, in one of the film's most staggering lapses in judgement. An ode to the city's culture this isn't, but an intriguing cinematic cry for change it is. But in the end, despite the noticeably flawed delivery, the film proves a consistently entertaining watch, never slowing down enough to become anything less than enjoyable, if slightly frantically so. Brendan Gleeson shines in a much needed starring role, wonderfully essaying both the grimly successful businessman and his shady identical twin with convincing distinctions and charisma to spare. However, the horrifyingly miscast Kim Cattrall easily proves the film's weakest point, her performance as consistently unconvincing as her shriekingly insulting attempt at an Irish accent. From her wobbling between unsatisfied wife to vacant shopaholic, to her never once reacting to the events surrounding her in a convincing fashion, coming as low as succumbing to attempted rape with sordid glee, Cattrall's performance and character scream of every shade of wrong. Briain Gleeson, real life son of star Brendan is an endearing and amusing presence as the protagonist's communist enthusiast son, even if he lacks the necessary exposition to jump from being wryly cynical to melodramatically disenchanted with life. Ciarán Hinds is a charming addition as a well meaning priest, and Sinéad Cusack does her best to keep herself from veering over the top in a laughably poorly written role as the mysterious family member connected to both O'Leary and his dark counterpart. However imbalanced and overambitious the film may be, overlooking character and narrative development for over-obvious social critique, The Tiger's Tail remains a uniquely entertaining anomaly in spite of itself, anchored by a well deserved star turn by Gleeson. While hardly one of the strongest pieces of Irish cinema to emerge of late, the film remains an enjoyable and intriguing watch for those willing to side-step its frequently flawed delivery. -6/10