FEATURE INTERVIEW

Song for a Raggy Boy

Real People, Too

- Aidan Quinn and Aisling Walsh Talk About Song for a Raggy Boy and a Flustered Film Critic Tries to Keep Her Composure

By Sara Michelle Fetters

I’ve conducted interviews before. If anything, I’d like to think I’m fairly decent at it. Granted, the interviews I’ve handled have been rather small time. Sure, I’ve exchanged words and the passing question with a famous person – Edward Burns during the 2001 Seattle International Film Festival (SIFF) springs to mind – after a screening of their newest film, but I’ve never actually sat down with a Hollywood celebrity one-on-one before.

So when the press office handling all the interviews for this year’s SIFF asked me if I’d like a half hour or so with Aidan Quinn and Song for a Raggy Boy director Aisling Walsh, I found myself more than a bit taken aback. I mean, we’re talking about Desperately Seeking Susan’s Rez and Stakeout’s “Stick” Montgomery, here. Each film showcased an early performance of unabashed sexy male masculinity that made, well, an indelible impression on my young adolescent mind.

Was I ready for this? Sitting face-to-face with an actor I harbored a secret crush almost my entire life - the last 16 years at the very least - and trying to ask him questions that don’t make me sound like a bubble-headed star struck idiot? What if I didn’t like the movie? Would he take offense if I said so? Would I be able to keep such things to myself if that was the case? Would he be cute in person? What if I blushed during the interview?

Of course I said yes. I may be green when it comes to conducting myself in front of movie stars, but I’m not stupid. (At least, I sure as heck hope I’m not. If so, then I am definitely going to be in for a long, embarrassing 30 minutes.)

The film in question, Song for a Raggy Boy, is a mostly successful 1939 Irish reform school story based on a true story. Quinn plays William Franklin, a teacher and soldier recently returned from the Spanish Civil War where he fought on the side of the communists. His ideals shattered by the horrors of war, he’s hoping to quietly live his life teaching the wayward boys of the school. Instead, what he finds is an institution ripe with corruption, degradation and fascism. Suddenly, Franklin is forced to standup for his student’s rights, helping them to see that with effort and education as guides there is a better life out there for them.

It’s a good, not great, film almost undone many of the usual inspiring teacher story clichés. (Oh my god, I don’t love it. Is that bad? Will he hate me because I don’t? Should I cancel? Is this a good shade of eye shadow on me? I wonder if he’ll like it?) In fact, the film’s final scene left a particularly bad taste in my mouth, resorting to almost the same hackneyed “inspiration” as the overwrought “captain, my captain” denouement from Dead Poets Society.

Yet there is a real, visceral power in Song for a Raggy Boy. Walsh shows an unflinching eye for the horror of the situation and period, not letting the dank violence intrude upon the movie’s rich emotional subtext. This is a tale of innocence lost; taken away by those most trusted to keep it sacred, in this case the Catholic priests of the school, leaving it to Franklin to show the boys that they have the power within to reclaim their own direction and humanity. (Oooooooo – that’s good. I can definitely tell them that.) Also, having grown up watching Quinn, it seemed to me I could safely say his performance here ranks amongst his very best. (I can definitely tell him that. He’ll love that. It’s not even false flattery!)

I sat down with both Quinn and Walsh in a rather large suite at the downtown Seattle W Hotel still going over all the questions I could possibly ask the duo in my mind. Things were going well up until I first laid eyes on the handsome actor. (Ooookay – HE’S dreamy. I think I should start purring.) Wearing a dark blue shirt, an amazing coral necklace and a pair of jeans, he had that scruffy freshly showered look about him. With the sunlight bouncing brightly off his baby blue eyes, I really thought I was going to melt. Seriously, that’s not a good way to start an interview. (Am I flush? Do you think he notices?)

Worse, I almost didn’t even notice the diminutive Walsh enter the room. For a director who shows so much fire and precision on the screen, at first glance she seemed almost timid and nondescript. It was only after we shook hands and I came face to face with her firm grasp and piercing hazel eyes that I knew this was the woman who had directed Raggy Boy, a fact that became clearer as I listened to her passionately elaborate upon the project.

But before I learned that, I still had another stumble to make before we could really get immersed into the interview. For some, idiotic reason, I decided to admit that this was the first big interview I’d ever conducted; nothing like placing your nervousness right out there in the open. (At least I’m not stammering. I could be stammering right now. That’s a good rule – no stammering in interviews. I’ll try to keep that one.)

Luckily, I was saved by Quinn. “Where are you originally from,” he asked. I started to tell him all about my hometown of Spokane, WA, when it suddenly hit me; he’d been there and I had saw him once before at that time. (Dork! Benny & Joon! He filmed that there. You’re looking like an idiot, sweetie.) That whole Buster Keaton-esque park sequence in Benny & Joon, I was front and center watching it being filmed. So, I told him that; that and more. About growing up in Spokane, writing for the Spokesman Review, going to high school – all of it – and Quinn actually seemed interested. And then it hit me, was I spending an entire interview talking about myself? (Am I that much of an idiot? Does he notice I’m sweating? Oh my god, I’m not sweating, I’m blushing. Does he notice? Someone, somewhere, SAVE ME!!)

“It’s a lovely town. I enjoyed filming there.”

What? Did you say something? Oh. Yes. The movie. Your movie. Why I’m here. Interview. That’s it. I’m interviewing Aidan Quinn.

“What drew you to this film, Mr. Quinn?” (Did I just say that? An actual question? Wow. I might be able to do this. I’m such a goddess. He’s going to love me. I am such a superstar… wait, he’s answering. Shouldn’t I be listening and taking notes? Oh god. I suck at this. How much of a dork am I?)

“It started with Aisling’s script [co-written by Patrick Galvin and Kevin Byron Murphy],” said Aidan. “I seem to be doing a lot of Irish films set during this period [1930’s/40’s) and the material here fascinated me.”

(He answered my question – he really answered my question. Woo-hoo! I really can do this!)

>>continued on page 2.

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