Two For The Road, written and directed by Lochlainn McKenna, provides a glimpse into a weekend ‘adventure’ for a young Irish boy, Oscar (Ewan Morris), and his Dad (Steve Wall). When their journey starts off, their road trip seems fun with tent camping and driving through some rugged and beautiful Irish scenery. Everything seems to indicate a typical father/son bonding. Early on, Oscar makes it clear he expressly hopes to find a field where he and his Dad can knock his soccer ball around. That is his sole goal. That, and to have lots of fun, one-on-one time with a man he obviously adores.
Then, unexpectedly, Dad changes plans and Oscar finds himself on a ferry, sans car, headed to an island. The first clue that something is not as thought is that Oscar snaps a photo of his Dad and Dad quickly hides the cigarette he is smoking behind his back. Apparently, Dad doesn’t wish someone – maybe Mom – to know he is smoking around the boy. However, the biggest secret to be held between father and son unfolds on the island in a terribly troublesome and distressingly drawn-out scene in a pub. The following day, communication is deplorably interrupted between the two as Dad takes Oscar home with the admonishment: “Don’t tell Mom”.
Two For The Road is a brilliant depiction of the insidiousness and shape-shifting experience of what passes for love – but is actually out-and-out abuse. Morris is heartbreaking in his portrayal of Oscar, as the boy emotionally seeks to understand his circumstances and the behaviors of the adults in his life. Wall is absolutely chilling in his portrayal of a father who is gradually falling apart as a man, while inflicting confusion, disappointment and adult responsibility on his young son.
Broken marriages are often the collateral damage of abuse foisted upon a family by a parent crippled by dysfunction. It is, more importantly however, the trusting, innocent spirits of the children, involved by no wish of their own in their parents’ war, who end up those most broken.
McKenna expertly lays bare in both his story and his direction, a film of both incredible sadness and seething anger. He is aided by the cold and austere scenery and the music and song underneath.
This is a film to remember. It is a film to take apart and internalize. It is a film that transports the audience into the inner ugliness of child abuse. . . delivered in the name of love.