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By Clifford Richardson

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The only other passenger is a young woman, Bessie (Janice Adair), the barmaid-whore from an earlier scene. She looks up at the entrance and shock parades across her face as the camera cuts to a fat, smiling, mustachioed man in bowler-hat, suit, tie, and vest with arcs of gold fobs across. It is the pub owner, Barney, her employer. 9 Here, Robison sneaks in a bit of O’Flaherty’s politics through this visual condemnation of the corpulent, lecherous bourgeois. ” The barmaid still owes Barney’s Bar for two months’ food and lodging.

Cut to Gypo observing them through the shop window.  In two long tracking shots akin to the techniques of UFA filmmakers, the camera follows Gypo across a busy street and through a crowd exiting a cinema before he bursts into police headquarters (Fig. 1). In Robison’s The Informer the motivation for Gypo’s betrayal is simply sexual jealousy. Without hesitation, Gypo, pounding his fist upon the table, informs the desk officer of Francis’s whereabouts that night. As the officer writes down Gypo’s statement, a dissolve shifts to Francis’s hand addressing an envelope to Gypo care of Katie’s address.

Hence we take some issue with James MacKillop’s assertion that “Irish filmmakers have rooted their films firmly in the nation’s literature,” to the extent that he is referring to the work of Joyce and Synge, with which his claim begins. MacKillop seems mainly to be making the claim that more contemporary Irish cinema has looked to its native literature for source material, which, as we explain below, is certainly true. 4. The attempt to promote Abbey Theatre plays as source material for an energized production trend at Ardmore did not succeed, though it was an important gesture toward linking Irish cinema and literature.

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