This post contains ‘major’ spoilers, and should not be read by anyone who plans to see Calvary but has not done so yet.
Calvary (John Michael McDonagh), although it contains comedic elements, is a film that seems to want to be taken seriously. In support of this suggestion, we might point initially to features of the film such as its somber, white-on-black opening quotation from St Augustine (‘Do not despair; one of the thieves was saved. Do not presume; one of the thieves was damned.’), or its swelling soundtrack, which serves to emphasise the intended poignancy of key dramatic moments. We might also point to the film’s trailer, which positions it within the realm of art cinema, and much of its critical reception, which offers it as a film with something to say. If the film’s ending is to secure the effects that it seems to be seeking, then the viewer needs, ultimately, to view the film’s characters as beings capable of authentic suffering and moral decision-making. This, at least, is what I want to argue, and I also want to argue that Calvary fails to satisfactorily reconcile its comedic and dramatic dimensions, resulting in a film that, although accomplished and enjoyable almost throughout, ultimately fails to hang together.