The many faces of redemption

Film review: Three Billboards Outside Ebbing, Missouri

MANILA, Philippines — Written and directed by the controversial and often profane playwright and poet Martin McDonagh, Three Billboards Outside Ebbing, Missouri is a visceral, even violent, meditation on loss, grief and the desire for justice. At the center of the story is one Mildred Hayes (Frances McDormand) whose daughter was raped, burned and killed in their small Midwestern town, and after seven months of investigating, the local police have not come up with a single suspect. Renting three billboards on the outskirts of town, she fills them up with three incendiary messages: Raped While Dying, Still No Arrests and How Come, Chief Willoughby?

Hardened by the ordeal of waiting, McDormand cuts an imposing “warrior” figure; her thirst for justice and now, vengeance, palpable. And of course, her billboards ruffle the community, with well-loved Chief Willoughby (Woody Harrelson) and his force put on the defensive. None is more offended by the temerity of Hayes to provoke the local police than dim-witted, racist police officer Jason Dixon (Sam Rockwell). But as we know from McDonagh’s previous films, In Bruges and Seven Psychopaths, beyond the dark comedy approach, there is serious social commentary at play — and the characters will possess complex layers that belie their cut-and-dry exteriors.

When McDormand began sweeping the Best Actress category of all the awards shows leading to the Oscars, and the film even picked up some Best Picture wins along with Rockwell snagging all the Best Supporting Actor nods; the inevitable backlash to McDonagh’s politically-loaded storyline came under attack. With Rockwell playing such a loathsome character, some questioned his wins, even belittling the very sublime arc that his character undergoes. Other quarters questioned the women empowerment aspect, saying the notion of frontier/vigilante justice was too dangerous to espouse. Me, I think they “doth protest too much.”

Both McDormand and Rockwell deserve every award they’ve won. Their acting is impeccable and leaves us open-mouthed. McDormand’s tirade against the local minister is priceless, and the arc Rockwell creates is nothing less than magnificent. That from so low an opinion and open hostility, we begin to understand and even empathize with Rockwell’s Jason is testament to his acting chops. And ultimately, this is McDonagh’s story. In dire need of some form of redemption, we follow Mildred through her journey, and that we discover everyone, even someone like Jason, can have his or her own path to redemption, is the eye-opener we all should learn from.