Terri Hooley may not be a household name, but to a music fan and punk lover in 1970s Belfast, he is a local treasure. Now, in his biopic ‘Good Vibrations’, named after the record store and label he owned in the city, the story can be told of how he gave punk a voice in a place city at a very troubled time.

Starring Richard Dormer and Jodie Whittaker, ‘Good Vibrations’ charts the journey of Terri (Dormer) from rock-bottom pub DJ to store owner and independent record producer. The Belfast Film Festival website lists the following synopsis, “Terri Hooley is a radical, rebel and music-lover in 1970s Belfast when the bloody conflict known as the Troubles shuts down his city. As all his friends take sides and take up arms, Terri opens a record shop on the most bombed half-mile in Europe and calls it Good Vibrations. Through it he discovers a compelling voice of resistance in the city’s nascent underground punk scene. Galvanising the young musicians into action, he becomes the unlikely leader of a motley band of kids and punks who join him in his mission to create a new community, an alternative Ulster, to bring his city back to life.”

He discovers one band, The Undertones, whose song ‘Teenage Kicks’ has gone on to become a punk anthem and covered by dozens of artists in the 34 years since its release. Yet, for the most part ‘Good Vibrations’ tells the story of a man who never achieves long-lasting success because he is led by sentiment and passion rather than any clear-headed business sense.

As a result, the film shows Terri’s marriage suffering, his finances waning, his drinking increasing and his focus wandering to the point where he is the victim of a brutal physical assault in his own store. Still, Terri’s resolve inevitably returns no matter how many times he gets knocked down, and it is this which drives the film through a somewhat meandering plot and ultimately unconventional conclusion. Terri’s optimism and idealism make him an incredibly endearing figure, due in large part to the sincerity and wholeheartedness with which Dormer brings to the role.

‘Good Vibrations’ launched the 2012 Belfast Film Festival, and it was clear from some audience feedback that it was a refreshing change to see a big-screen representation of Northern Ireland which did not exclusively detail the Troubles. Rather, this film operates on the level of almost any biopic, where the historical and political context remains mainly on the fringe while the personal trumps and failures elevate the narrative beyond any single cultural consciousness. Audience member Eamonn Knocker told Toonari Post, “I liked the fact that it was a part of Belfast history, that it was funny and sad, and that it’s a change [from films about The Troubles]“.

With the festival being bookended by ‘Whole Lotta Sole’, already previewed by Toonari Post, the message is loud and clear that Northern Ireland is acknowledging its past difficulties while still finding ways to move forward and explore new characters and untold stories.

Image Courtesy of  Terri Hooley

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On Friday June 8, the Belfast Film Festival hosted the second of its three Gala Screenings as the locally-produced film ‘Jump’ premiered to a packed crowd at the Dublin Road Movie House. Starring Nichola Burley (‘StreetDance 3D’), Martin McCann (“The Pacific”), Charlene McKenna (“Raw”), Richard Dormer (‘Good Vibrations’) and Lalor Roddy (“Game of Thrones”), ‘Jump’ follows several characters on New Year’s Eve in Derry, Northern Ireland, as they weave in and out of each others lives, all ultimately impacting the film’s main protagonist Greta, played beautifully by Burley. Director Kieron J. Walsh does a great job bringing effective moments of comedy to an otherwise dark, introspective tale, but ‘Jump”s main success is in painting Northern Ireland in a light rarely seen before on screen or at this festival.

Toonari Post previously reviewed ‘Good Vibrations’ and ‘Shadow Dancer’, both of which were entertaining in their own rights but which still situated their narratives in relation to the well-documented social and political conflict of Northern Ireland’s past. ‘Jump’, however, tells personal stories through themes which could translate to any city and any festival. Depression, grief, greed, hope: Walsh brings all of these to life thanks to a moving score and Steve Brookes’ well-balanced screenplay.

The film begins with Greta on the edge of a bridge, contemplating suicide until she is interrupted by Pearse, a young man unceasing in his efforts to find his younger brother who he suspects has been harmed by local gangster Frank Feeney, who just so happens to be Greta’s father. Reluctantly caught in the middle of all of these storylines is Greta’s friend Marie who, along with her other friend Dara, struggle to stay out of danger on a New Year’s Eve night which spirals more and more out of control.

Burley has few, if any, light moments to play as the despondent Greta, but she never falters in her portrayal of a woman figuratively and physically driven to the edge of despair. She sparkles in her scenes with McCann, who gets to play some wittier moments as Pearse, a young man with whom Greta forms an instant bond due to their mutual loathing of Frank Feeney, played by Roddy. Roddy is perfectly menacing in the role, while Ciarán McMenamin and Packy Lee provide much of the comic relief as Feeney’s lacklustre henchmen. Charlene McKenna and Valene Kane are terrific as Marie and Dara, the two women who can’t help but to get drawn into everyone else’s problems. Rounding out the cast is Dormer who, as the haunted criminal Johnny, is a world away from Terri Hooley of ‘Good Vibrations’ in this role. Dormer grounds every single scene he is in, especially when he is paired with the ridiculous duo of Ross and Jack (McMenamim and Lee, respectively), and at times rivals Burley as the emotional hook of the film.

More than likely, ‘Jump’ will not receive the global marketing support handed out to less-deserving ensemble offerings like last year’s woeful ‘New Year’s Eve’ or the recent ‘What to Expect When You’re Expecting’, which is a shame because Walsh and Brookes have created a densely-plotted and fantastically fast-paced film which would entertain almost any cinema-goer. Still, it had the backing of Limelight Media, Northern Ireland Screen, the Irish Film Board and BBC Northern Ireland, among other investors, so there may be hope that a wider audience outside of Northern Ireland will get the chance to enjoy ‘Jump’ and see a refreshing take on life in this creatively-burgeoning country.

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