Song of the Sea (Irish: Amhrán na Mara) is a 2014 animated fantasy film directed and co-produced by Tomm Moore, co-produced by Ross Murray, Paul Young, Stephen Roelants, Serge and Marc Ume, Isabelle Truc, Clement Calvet, Jeremie Fajner, Frederik Villumsen, and Claus Toksvig Kjaer, and written by Will Collins from Moore’s story. It was an international co-production from Ireland, Belgium, Denmark, France, and Luxembourg, and is the second feature film by Cartoon Saloon.
“Song of the Sea” is, in that sense a quiet film, but its serenity doesn’t completely make up for its formulaic narrative. This is especially disappointing since Moore and screenwriter Will Collins try to avoid several clichés, like when Ben (David Rawle) confronts Macha (Fionnula Flanagan), an antagonistic Celtic goddess, and doesn’t try to beat her up, but rather to reason with her. Unfortunately, too much “Song of the Sea” feels like it was borrowed from other fairy tales, making Moore’s sophomore feature a warmed-over tale told with infectious flair.
Parents need to know that Song of the Sea is a beautifully hand-drawn animated adventure about Irish myths and legends, predominantly selkies — creatures that live as humans on land and seals in the water. While Song of the Sea is less intense than the director’s previous film, The Secret of Kells, it can still be intense and heartbreaking at times — like when it seems the kids might not survive, that Ben will drown, or Saoirse will succumb to her mysterious illness. It’s implied that their mother dies early in the film (right after baby Saoirse is born), and the Macha and her owls can be creepy and scary, particularly when they go after the kids. But in the end this is a powerful movie about the importance of sibling relationships, about accepting everything you feel (no matter how sad or scary), about literally and figuratively finding your voice, and about doing everything possible to protect the people you love.
Song of the Sea follows the story of a 10-year-old Irish boy named Ben (David Rawle) who discovers that his mute sister Saoirse, whom he blames for the apparent death of his mother, is a selkie who has to free faerie creatures from the Celtic goddess Macha.
Like other Saloon films, the film was hand-drawn. The film began production soon after the release of The Secret of Kells (2009), premiered at the 2014 Toronto International Film Festival on 6 September in the “TIFF Kids” programme.[5] The film had a limited release in certain countries, but received acclaim and was nominated for the Academy Award for Best Animated Feature at the 87th Academy Awards in 2015.[6][7]
The Irish-language version has been produced by Macalla with funding from TG4 and the Broadcasting Authority of Ireland, with selected cinemas in Ireland screening it from 10 July 2015[8][9]. Brendan Gleeson and Fionnula Flanagan reprised their respective roles in this version. The DVD with the Irish audio can be bought in Cartoon Saloon’s online store.[10]
Conor, a lighthouse keeper, lives on an island with his son Ben, his pregnant wife Bronagh, and their Old English Sheepdog Cú. Bronagh disappears late one night, presumably dying after childbirth, leaving behind Saoirse.
“Song of the Sea” is, in that sense a quiet film, but its serenity doesn’t completely make up for its formulaic narrative. This is especially disappointing since Moore and screenwriter Will Collins try to avoid several clichés, like when Ben (David Rawle) confronts Macha (Fionnula Flanagan), an antagonistic Celtic goddess, and doesn’t try to beat her up, but rather to reason with her. Unfortunately, too much “Song of the Sea” feels like it was borrowed from other fairy tales, making Moore’s sophomore feature a warmed-over tale told with infectious flair.
Six years later, Conor is broken, Saoirse is mute, and Ben is hostile toward Saoirse, blaming her for Bronagh’s disappearance. On Saoirse’s birthday, they are visited by their grandmother, “Granny,” who thinks that the lighthouse is not a fit place to raise the children. That night, Ben scares Saoirse with a story of Mac Lir and his mother Macha, the Owl Witch, who stole his feelings and turned him to stone. Later, Saoirse plays a seashell horn given to Ben by their mother, leading her to a white sealskin coat in Conor’s closet. She puts on the coat and walks to a group of seals in the sea, revealing herself as a selkie. After swimming, she is found by Granny, who insists upon taking the children to the city. Conor reluctantly agrees despite Ben’s protests and locks the coat in a chest, then throwing it into the sea.
Parents need to know that Song of the Sea is a beautifully hand-drawn animated adventure about Irish myths and legends, predominantly selkies — creatures that live as humans on land and seals in the water. While Song of the Sea is less intense than the director’s previous film, The Secret of Kells, it can still be intense and heartbreaking at times — like when it seems the kids might not survive, that Ben will drown, or Saoirse will succumb to her mysterious illness. It’s implied that their mother dies early in the film (right after baby Saoirse is born), and the Macha and her owls can be creepy and scary, particularly when they go after the kids. But in the end this is a powerful movie about the importance of sibling relationships, about accepting everything you feel (no matter how sad or scary), about literally and figuratively finding your voice, and about doing everything possible to protect the people you love.
On Halloween, Saoirse plays the seashell, alerting Færies called “Na Daoine Sídhe” to her. She and Ben attempt to go home, but encounter the Færies, hoping she will allow them to return to Tír na nÓg. However, they are attacked by Macha’s owls, turning the Færies to stone. They take a country bus, and run into Cú, who has followed them. However, Saoirse is growing ill. They come across a holy well into which Saoirse dives. Ben follows her and meets the Great Seanachaí: they learn Saoirse was kidnapped by Macha, and she is mute because she needs the coat and will soon die if she does not get it back. He gives Ben one of his hairs that will lead him to Macha. As he follows the hair, it shows him that Bronagh — a selkie herself — was forced to return to the ocean on the night of Saoirse’s birth, leaving her husband and the child behind. Since Ben found the truth, the walls of hair open, showing him a way out and to the house. The Færies who turned to stone come alive and warn Ben to avoid the jars, tell him to be careful and brave, and wish him good luck.
“Song of the Sea” is, in that sense a quiet film, but its serenity doesn’t completely make up for its formulaic narrative. This is especially disappointing since Moore and screenwriter Will Collins try to avoid several clichés, like when Ben (David Rawle) confronts Macha (Fionnula Flanagan), an antagonistic Celtic goddess, and doesn’t try to beat her up, but rather to reason with her. Unfortunately, too much “Song of the Sea” feels like it was borrowed from other fairy tales, making Moore’s sophomore feature a warmed-over tale told with infectious flair.
Ben then meets Macha, who explains that when Mac Lir suffered from a broken heart, she turned him into an island near their home. She is determined to do likewise for everyone, even herself. Ben manages to rescue Saoirse, giving Macha back her feelings and allowing her to recognize that taking away feelings doesn’t help. She helps to fly them back home, and Conor attempts to take Saoirse to a hospital; simultaneously, Granny is nearing the island to find them. Ben dives into the sea in search of Saoirse’s coat and recovers it with Conor and the seals’ help. Saoirse’s coat is put on her, and her voice surprises Ben and Conor. Mac Lir’s dogs come to push the boat over, and Conor and Ben are happy with how Saoirse’s coat changes her into a little seal. Ben rides on her back and his father rides on another seal’s back to Mac Lir’s island. The group is then washed up on Mac Lir’s island, but Saoirse’s health is not fully restored. Ben tries to get Saoirse to sing, and she eventually sings the Song of the Sea. The song causes Saoirse’s health to be fully restored, making the magical golden lights which cause the spirits and the Færies to rise out of the stone and travel to Mac Lir. Mac Lir is transformed back into his original form out of the stone and continues with Macha, his dogs, the Great Seanachaí and the Faeries back home to Tír na nÓg.
Bronagh appears to take Saoirse to Tír na nÓg with her, but Ben pleads to let Saoirse stay with them, because she’s all they have. Since she is half-human, the choice rests with Saoirse, who elects to remain behind with her father and brother, even though it means giving up her selkie powers and becoming fully human, if Bronagh takes Saoirse’s coat to untangle their worlds. Accepting her daughter’s decision, Bronagh takes her coat. Conor tells Bronagh that he loves her so much, and they kiss. Ben asks Bronagh to stay as well, but she is unable to stay and tells him to remember her in his stories and songs and that she’ll always love him. She kisses her son’s forehead. After a tearful farewell, Ben and his family happily return home to their island, where Granny finally arrives, and she decides the children can stay with their father.
During the epilogue, Ben and Conor paint and called by Granny and Saoirse to the beach. Ben and Saoirse reconcile and become friends. Ben, Saoirse, and Cu swim with the seals, as the ending title goes to then Irish “Críoch,” later translated to “The End.” The end credits come with the concept arts and animation, along with the “Song of the Sea” — the regular version and the lullaby version.
Parents need to know that Song of the Sea is a beautifully hand-drawn animated adventure about Irish myths and legends, predominantly selkies — creatures that live as humans on land and seals in the water. While Song of the Sea is less intense than the director’s previous film, The Secret of Kells, it can still be intense and heartbreaking at times — like when it seems the kids might not survive, that Ben will drown, or Saoirse will succumb to her mysterious illness. It’s implied that their mother dies early in the film (right after baby Saoirse is born), and the Macha and her owls can be creepy and scary, particularly when they go after the kids. But in the end this is a powerful movie about the importance of sibling relationships, about accepting everything you feel (no matter how sad or scary), about literally and figuratively finding your voice, and about doing everything possible to protect the people you love…
