The Fourth Green Field

 ((DOCU -- Color/B&W))

By JOE LEYDON

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A Canoe Prods. production. Directed, written, edited by Margaret Bruen.
 

Margaret Bruen's "The Fourth Green Field" is a sincere and well-researched docu about the human-rights abuses that have been "justified" (legally, if not morally) in Northern Ireland under the Prevention of Terrorism Act. But the pic's impact is seriously undercut by Bruen's unfortunate tendency to keep hammering away at points long after they are made. Some judicious editing would help pic get exposure in public and cable TV outlets.

Bruen deftly provides historical context in opening scenes, relying heavily on period BBC news reports of civil rights protests by Catholics in Northern Ireland during the 1960s. (The BBC narrator sounds snidely condescending as he refers to the need for authorities to "discipline an obstreperous population.") One thing leads to another, British security forces arrive, and the long years of repression begin.

Bulk of pic is a montage of talking-heads interviews with local and international human rights activists, victims of abuse by British and Irish forces, and relatives of those who have been killed or arrested by what the docu depicts as an occupying army. Irish firebrand Bernadette McAliskey (nee Devlin) is bitterly sardonic as she describes how British forces go about patrolling so-called subversive neighborhoods:"The very fact that you're breathing means you're up to no good."

Pic emphasizes the arbitrary but absolute powers given to police officials by the Prevention of Terrorism Act. Suspected "subversives" can be interrogated and imprisoned for indefinite terms without trial or legal counsel. An unofficial "shoot to kill" policy has resulted in a suspiciously high body count. At least one innocent bystander was struck and blinded in her own living room by a plastic bullet fired through her window by a patrolman.

"Field" is notably short on reportage of IRA violence. But Protestant vigilantes are persuasively linked to the British officials. "Field" is too didactic and one-sided to be taken as completely objective, and too repetitious for its own good. At its frequent best, however, it works effectively as thought-provoking advocacy journalism.

Camera, Sean Hulsebosch; music, Tommy Makem, the Chieftains; sound, Betty Bruen. Reviewed at World Film Festival, Montreal, Sept. 2, 1994. Running time: 96 MIN.