Written and directed by Rebecca Doherty, a Northern Irish pianist seeks redemption for an attack on his band during The Troubles when he unexpectedly encounters one of the bandmates at a gig years later. Starring: James Doran, Deanna Jaye and Nigel O’Neill.
The Troubles were such a long running conflict with an extremely violent outcome and one that is an integral part of Northern Irish history, and yet as time passes, you don’t see it mentioned often, despite the consequences still reverberating today. So, it’s great to see Rebecca Doherty approaching the topic in a new way with Music to Die For. Tapping into the lingering trauma, the memories of pain and loss, creating a nicely complicated and dramatic atmosphere.
Something which is definitely elevated by James Doran’s performance, with some smooth, slow shots to capture his scattered, anguishing presence, before the story develops. Especially as he never overplays his hand, everything is restrained yet emotional. While Deanna Jaye adds a musical vein and a supportive presence. Before Nigel O’Neill arrives to ramp up the tension, which again is done in a way that says a lot but never feels the need to be outright dramatic, a clever choice from Doherty.
The atmosphere is also helped a lot by the quality of the aesthetic, there’s a crispness to it that helps maintain that mix of being grounded but complex. As well as the blend of having music be such an integral part of Music to Die For but then using the quiet to amplify its dialogue rather than a score. It’s another interesting choice and one that definitely works well.
Perhaps the only element holding it back is the progression, we get a lot of build up to the crux of this story, and don’t spend as much time delving into it. The music can take over a bit too much, so while it does a great job of building the emotion, it would have been great to flesh out the conflict a little more.
Music to Die For is a musically driven and emotionally layered drama with plenty of tension. The story may not develop as much as hoped to really hit those final notes hard but it’s a smart and creative way to explore the topic. The direction is strong, there’s a quality to it that feels very old-school and earnest while not feeling old-fashioned.
James Doran gives a great, stoic yet pained leading performance, and is well supported by Deanna Jaye and Nigel O’Neill. Rebecca Doherty used her music background to her advantage and created a touching and understated exploration of trauma.
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