What’s the craic? Directed by Rich Peppiatt, this fictionalised account of the West Belfast hip-hop trio, has not been without controversy from, unsurprisingly, certain sectors of the British press. However, the band deny they’re pro – IRA, and define their film as a satire, a provocation mocking every Irish trope ever committed to film, particularly when set in Belfast.
Initially, it’s fairly knockabout stuff: the Kneecap on screen playing heightened versions of themselves in a post-Trainspotting landscape of cheap drugs, laddish bantz and club culture. But it’s much more subversive and intelligent than its first few cartoonish scenes would imply.
When Mo Charra and Moglai Bap, two best pals who are part of Belfast’s “ceasefire generation” are egged on by their teacher to put their Irish language raps against his rudimentary beats, said teacher JJ becomes DJ Provai, an anonymous third wheel, sporting a tricolour balaclava in their band. But who on earth wants Celtic rappers in a still-divided Northern Ireland? And,even more awkwardly, Charra is seeing Georgia (Jessica Reynolds) a protestant lass turned on by their sectarian roleplay/arguments.
Even worse, the RRAD (Radical Republicans Against Drugs) are hot on the band’s tail, especially given their fondness for cocaine, spliffs, ecstasy and ketamine binges. And Georgia ‘s aunt (Josie Walker) is hard-boiled Loyalist, Detective Ellis. Can their USP, rapping in both Irish and English, save them from the cells, thrusting them from small gigs into the mainstream ?
With an often laugh out loud script, spirited performances all round and a rich seam of pathos, this comedy -drama transcends the usual cliches of band biopics. There are no, “hey, that sounds like a song” epiphanies, or recording studio montages. All they have are microphones, decks and retro 808 recording equipment.
Sure, it’s cheeky and lairy, and obviously fairly brutal given the long shadow of The Troubles, but there are unexpected themes of camaraderie;national autonomy, class, and the unbreakable bonds of family, both in blood and found through music. Great support, too, comes in the form of Michael Fassbender as Arlo, Charra’s Da, a former Republican paramilitary, and Simone Kirby as his strong-willed wife, Dolores.
It’s not “the bomb” by any stretch of the imagination, too long by far, and the ending feels too neat, but it’s got heart and humanity, whatever your political and religious inclination.
Hit The North 