#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A thoroughly mind-provoking film about 3 young women who, under tragic circumstances, see themselves cast away to a Magdalene Asylum for young women in 1964. One of many like institutions, the asylums are run like prisons and young girls are forced to do workhouse laundry and hard labor. The asylum, one of many that existed in theocratic Catholic Ireland, is for supposedly ‘fallen’ women. Here, young girls are imprisoned indefinitely and endure agonizing punishments and a long, harsh working system which leaves them physically drained and mentally damaged. As the girls bond together, it soon becomes clear that the only way out of the Magdalene convent is to escape, but with twisted Sister Bridget running the wing, any chances seem limited…
Plot: Four women are given into the custody of the Magdalene sisterhood asylum to correct their sinful behavior: Crispina and Rose have given birth to a premarital child, Margaret got raped by her cousin and the orphan Bernadette had been repeatedly caught flirting with the boys. All have to work in a laundry under the strict supervision of the nuns, who break their wills through sadistic punishment.
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|7.7/10 Votes: 26,058|
|7.5 Votes: 243 Popularity: 11.482|
A Horrific and Gripping Recounting of True Evil
“The Magdalene Sisters” is not, as some have claimed, a one-dimensional anti-Catholic film exploiting what are arguably especially gruesome atrocities. It is a fact-based drama about three teenage girls who found themselves in 1964 sentenced to work in a laundry run by an Irish religious order for an indefinite term and under conditions that made most audience members shudder.
In three brief vignettes before the main title, the girls are introduced. One is brutally raped by a cousin at a wedding while priests perform traditional Irish songs. Immediately telling a woman, instead of support she becomes the subject of a hasty conspiracy to spirit the rapist from the wedding and to place her in the Magdalene asylum.
A second girl gives birth to a baby – in the not long ago past, illegitimacy was the label. She is pressured by a priest to surrender the baby boy and then she, too, is hustled off to the asylum.
The third victim is in an orphanage where she gets under the director’s skin for no other offense than she is pretty and boys from the neighborhood crowd a fence to call down to her. Transfer to the asylum follows.
The Magdalene laundries made money for the order running them and the asylum to which the three girls were committed is, in this film, a moral charnel house. Sister Bridget, the head nun, interviews the girls while fingering, with almost erotic delight, rolls of money. Her desk sports a photo of President Kennedy but a picture of Ilse Koch would have been a more suitable iconographic representation of her character. She is a sadist, first class.
What follows is almost unrelieved tedium for the girls interspersed with brutal physical chastisement and agonizing sexual humiliation inflicted by perverted nuns. Sexual orientation isn’t my issue, it’s the awful victimization of helpless young girls.
Through the fine acting of the cast the complexity of relationships and the nature of choices become engrossing. To accommodate or to resist. To comply or to engage in sabotage, even in small ways as a declaration of non-surrender. Sabotage is possible but can an inexperienced and angry teen foresee the consequences of a minor act of resistance? An anticipated humorous defiance may well have tragic results.
The film centers on the three girls as well as several other asylum inmates ranging from a young woman descending slowly into irreversible madness and an elderly crone who believes her lifetime of servitude guarantees entrance to the Kingdom of Heaven. This tortured soul is the nuns’ “capo,” the inmate without whose help the asylum’s strictures can’t be enforced. Comparison to the Gulag camps and the Nazi concentration camps is apropos.
“The Magdalene Sisters” doesn’t portray all the girls as angels but it does show the nuns and the occasional male clergy as evil exploiters and sadistic hypocrites. Is that fair? The end credits report that some 30,000 women were involuntarily placed in Magdalene asylums until the last one closed in 1996. Were all inmates so tortured and beaten? I don’t know but these three girls certainly have had THEIR experience recorded for a population that appears to have turned a blind eye to what should have been a national scandal decades earlier. Their life after the asylum is reported in the end credits. All paid a price for a stolen adolescence.
The asylum in this film is pure evil, religious doctrine run amuck in the quest for money through cheap labor and in the riotous unleashing of perversity. English judges for centuries have often used a word rarely found in American case law to describe persons and events: the word is wicked. This film projects an unending parade of wicked people performing wicked acts. It doesn’t condemn Catholicism, it indicts the operation by the church in Ireland of one type of soul and body destroying evil. The Church can no more defend the Magdalene asylums than it can the predatory pedophiles in the priesthood. That’s the simple reality.
Audience members loudly gasped and a number cried during the showing. This isn’t a film for the fainthearted or those who want their illusions about a bucolic and verdant Ireland filled with dancing and music unaffected by the reality of a genuine tragedy now coming to light.
Powerful historical drama
The Magdalene Sisters chronicles the experiences of three young girls in the infamous Magdalene Laundries. The Laundries were Catholic clergy-run organizations in operation from the 19th century up until the late 20th century in Ireland. Girls were sent to work in these institutions for suspicion of having sex outside of marriage, showing provocative character, or for simply being “too pretty”. Mullen succeeds in exposing the outright abuse that went on in these institutions at a time when the Church was seen to be Ireland’s highest moral authority.
The film focuses on the stories of three “fallen” girls who have all been landed in the Laundries for sins they didn’t commit. What is most shocking about this film is the utter sadism and cruelty of the nuns who run the asylum. They force the girls to work beyond endurance in abysmal conditions, and routinely subject them to humiliation of an unthinkable nature. In one scene, the nuns line the naked girls up and judge who is the hairiest, who has the biggest breasts, etc. Mullen wanted the girls to appear natural, and insisted that the they not shave themselves or pluck their eyebrows prior to and during filming. No one is wearing make-up and all the girls wear the same unflattering garb. This adds to the realism of the film and brings his asylum closer to the real Laundries.
The clever polarization of character personalities made for some interesting clashes. There is Bernadette, who is fiery and headstrong; Margaret, a responsible girl with a strong sense of morality. Rose, whose good nature endeared me quickly to her. And Crispina, who is just plain bonkers. I found the development of Margaret’s character to be particularly interesting: The more oppression she is subjected to, the more she comes to value her independence. This all culminates until her brother finally comes to collect her after four years. Upon realising her newfound freedom, she wont even have her brother tell her to hurry so they can get going: “Don’t you dare tell me what to do! Don’t you ever dare tell me what to do!”
Eileen Walsh was brilliant in this movie. Her portrayal of the simple but eccentric inmate Crispina certainly added a lot of colour to the film. Despite the obviously bleak theme, there are some humorous moments in the film and these usually involve Crispina. This was a very difficult role to take on, as Crispina’s theatrical and over-dramatic personality required Walsh to portray such a wide array of emotions. So convincing was Walsh’s performance that I found myself feeling real compassion for the girl. She’s not all there and is virtually clueless about the world, which makes her fate all the more poignant. Walsh sacrificed vanity more than any of the other girls for this role, which is also to be admired. Her performance stood out for me as one of the highlights of the film.
This film should appeal to the secular-minded and those who are critical of religion in general. I don’t know if Mullen himself holds any biases in this area, but he certainly succeeds in highlighting just how detrimental an effect fundamentalism can have on a society. It has torn the girls’ families apart, stripped them of their independence and, for some of them, has resulted is the considerable deterioration of their mental health. The girls enter the asylum as strong, healthy individuals who, over time, come to forget how to interact properly with other people and find it difficult to distinguish what is real and what isn’t. One of the prevailing themes in The Magdalene Sisters is the hypocrisy of devout Christians, who claim to model themselves off of Christ, yet are so un Christ-like in their treatment of the “fallen” in society. This is especially true of the nuns, who are supposed to serve as women of Christ, yet fail to follow in his example of forgiveness and love.
One aspect of this movie I found particularly interesting was its depiction how society viewed women in the era. The treatment of the Magdalene girls raises questions about the injustices and double-standards which existed in the early 20th century. Even though the girls of Magdalene are not at fault for being raped, getting pregnant or simply being attractive, it is the women who are punished and ostracised.
The crew did a great job of recreating the atmosphere of the old Irish Laundries. Most of the film is shot in dimly lit conditions, to emphasize the bleak and gloomy feel of the place. We get a brief glimpse of the beautiful Irish countryside when Margaret steps outside the grounds of Magdalene and becomes disorientated as she surveys the outside world. She is startled by the light and beauty of freedom, which is in stark contrast to her confinement in the Laundries. Sound is also manipulated to great effect. I really got the feel of an old, spacious dank church as every sound is clearly heard resonating off the stone walls. I think the echo was supposed to simulate that constant feeling of being alone which pervaded the asylum.
The shocking nature of this film may prompt the viewer who has had no prior knowledge of the Magdalene asylums to question how accurate a representation it is of the actual Laundries. Indeed, I myself found it hard to accept that the asylums could be this bad until I watched Steve Humphries’ 1998 documentary “Sex in a Cold Climate”, on which this film is based, and found the reality to be just as harrowing as the adaptation. In fact, one of the inmates told Mullen that the reality of the Laundry was much worse than what is depicted in the film.
I really can’t recommend this film enough. It was moving, entertaining, and shocking enough to hold my attention until the final credits rolled. Expect to have a seething hatred of Irish nuns instilled in you. 10/10
Original Language en
Runtime 1 hr 54 min (114 min)
Director Peter Mullan
Writer Peter Mullan
Actors Geraldine McEwan, Anne-Marie Duff, Nora-Jane Noone, Dorothy Duffy
Country Ireland, UK
Awards Nominated for 1 BAFTA Film Award. Another 18 wins & 14 nominations.
Production Company Film Council, Momentum Pictures, Scottish Screen
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Laboratory Digitalfilm Lab, Soho Images, London, UK
Film Length 3,268 m (Sweden)
Negative Format 35 mm (Kodak)
Cinematographic Process Spherical
Printed Film Format 35 mm