Glenrothan Film Review
It’s a bit of a worry when a whisky commercial has more substance in a 30‑second ad slot than a film proclaiming to be a family drama. But this is where we find ourselves with “Glenrothan,” the directorial debut of actor Brian Cox. The film is ultimately a predictable one that lacks heart and indeed, spirit.
Jeff Murphy joins screenwriter David Ashton for the screenplay. It is a story that seems a tad predictable at times. Here, we have a tale of two brothers. Except in this instance, they are two estranged brothers who have not seen each other in over four decades.
Cox plays the elder brother, Sandy Nairn, who is the custodian of the family’s whisky business. Their company is one that has been owned by their family for generations. Sandy’s younger brother (if you can believe that the pair are from the same generation) is Donal, played by Alan Cumming. The latter fled Scotland for Chicago in order to play music and open a Blues Club. The pair each enjoyed their separate lives until circumstances and ill health occurred, which saw them reunite.
Cox brings a gruff gentleness to the proceedings. The film grapples with themes like identity and acts of service. Throughout some flashbacks we learn that the brothers had a disciplinarian for a father. This was largely the reason why Donal left and went to America. Donal also enlists his adult daughter (Alexandra Shipp) and granddaughter (Alexandra Wilkie) for the trip, even though the pair really don’t do much apart from add a little earnestness to the piece.
Most of the film’s characters seem to be lacking any real emotional depth. The pacing of the proceedings also feels off, insofar as things that should have been explored in great detail are given short shrift while banal moments are given far too much airtime. There is one saving grace, and that is the fiery Shirley Henderson, who plays master distiller Jess (who was once Donal’s girlfriend). We may have had something here if she had been given a lot more airtime.
“Glenrothan” is a film that’s unsure of itself, as it’s not deep enough to do the drama justice and it’s too serious to lean into comedy alone. There are some glorious shots of Scotland (who is looking damn fine, by the way). But in the end, this is a real paint‑by‑numbers film that is more banal than it is bold (in flavour, heart, and spirit).
About the Author
Natalie Salvo Natalie is a Sydney-based writer and lover of all things music, food, photography comedy, art, theatre. You can find her digging in crates at good record stores.
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