In the reality of “Liam” brought to screen by director Stephen Frears, the peasants of the Irish village owe debts whether they like it or not; they even owe debts to the local Catholic Church which rules over them like a mafia syndicate. In the time of the story told, the Catholic Church ruled over everyone with hypocrisy and cruelty where parishes came around the neighborhood to collect dues while the wives reluctantly gave simply out of guilt. The children are taken to Sunday school simply for shock tactics where they’re taught that if they sin, they would burn in hell. It is terrifying to youngest child, seven year old Liam, who has an odd fascination with the female body after accidentally walking in on his mother (Claire Hackett) in the bathroom.
“Liam” resonates high as a story of family and poverty and blame. The family which prides itself in being loyal church goers are literally scared to death by and of the Catholic church; the family fears of being ex-communicated so they loyally give the church its dues afraid of going to hell, and the children in Sunday school are so terrified of dying and going to hell that they dare not sin aside from Liam who blames himself for having his odd fascination. The father blames many of his money troubles on the Jewish and often strikes out at priests and others for making him poor. There are many great performances pulled in by the cast including adorable Anthony Burrows who in some way represents the low voice of poverty.
His incapability to make a full sentence due to his harsh stuttering is charming and tends to work in his advantage when bargaining with a pawn broker. Ian Hart gives a great performance as well with his self-loathing father who must carry the burden of guilt that he’s unable to provide for his family. This often causes him to fight with his oldest son (David Hart) who actually works. Daughter Teresa (Megan Burns) serves as the paradox within the story as she is forced to work as a maid for wealthy Jewish people whom the father despises and also reflects upon the mother who orders her to take back a large loaf of leftover bread she stole from her employers, and makes her pawn her clothing given to her by her employers but to choose only one to wear.
Burns is great in the film as the humble and quietly desperate girl who is pampered by the Jewish people often watching the kindness when the father chooses to see nothing but hatred among their race with blame. The slums of this Irish Village is tough which often will reflect upon the audience who watch these people struggle to survive everyday and must bear the load tribulation after tribulation for the sake of their children. The film’s final act is a ponderous allegory for the father and son Liam, the father is somewhat a product of the overbearing scare tactics of the Catholic Church which put fear into people. Liam is the beginning product; the father is the result of what Liam may and most likely will grow to be. This is a fascinating and heartbreaking glimpse into poverty under the Catholic Church’s tight grip which tended to spark hatred and resentment among many of the villagers.