gelman@attglobal.net I never heard of Peter Travis prior to "Omagh" but the direction in this film deserves more than equal billing with Gerard McSorley, who stars the bereaved father who becomes chairman of the Omagh Support Group. The mounting tension at the start of the film as the bomb is positioned, the police are warned and the crowd on the High Street is herded to the spot where the explosion takes place is enough to take your breath away. It doesn't matter in the least that the accents are difficult for these American ears to understand at the film's beginning because you somehow know exactly what's happening at every moment. The frantic search for the missing son, the dawning realization that he has died, the intense grief, the formation of the Omagh Support Group with McSorley emerging as its leader, the effort to ensure that the investigation is pursued, the determination of the politicians that the incident not be allowed to derail "the peace process," the evasions and downright lies of the police, the mysterious emergence of the truth, the condemnation of police conduct by the police ombudswoman -- all are rendered with controlled intensity that never flags. One device that Travis and his cameraman use repeatedly to great effect is the extreme closeup in which a portion of the character's face is shown, framed usually at an artful angle that a skilled portrait photographer might adopt for a still picture. Those pictures capture the emotions of the characters with particular force. The tragedy of Omagh is brought alive to devastating effect. Don't let the fact that it was made for TV deter you from seeing this superb movie.

Henry Fields In 1998 the so-called Real IRA (a split from the original IRA that didn't agree with the peace process in Northern Ireland) exploded a 200 kg bomb in one of the most crowded streets of the city of Omagh. More than 30 dead, hundreds of wounded people... No one were judged for those crimes. The politicians were afraid that the peace process might end and just "let it be"."Omagh" approaches to those facts from the point of view of the victims. The initial shock, the confusion, the anxiety... The first half hour of the movie is just hair-raising, and if you're a very sensitive person you should't see it. For the rest of you: the film is just superb, and it isn't gruesome at all. Pete Travis shows the facts as they were, but so carefully and with a style that makes the movie look like a documentary.The work of the actors is outstanding, for it's so hard to play that kind of characters (they're so emotional).*My rate: 8/10

Libretio OMAGH Aspect ratio: 1.78:1Sound format: Dolby DigitalUnlike its voracious American counterpart, British TV is generally reticent about dramatizing true-life crimes and atrocities, fearful of causing public offence and generating protest in self-righteous tabloid newspapers. Writer-director Paul Greengrass (THE BOURNE SUPREMACY) has been negotiating this delicate minefield since 1994, producing some of the most compelling works in British TV history (including "Bloody Sunday" and THE MURDER OF STEPHEN LAWRENCE). And while he didn't direct OMAGH - an account of the search for justice following the Real IRA car bomb which exploded in the Irish market town of Omagh in August 1998 - his style is writ large over the entire production. Co-written by Greengrass and Guy Hibbert (SHOT THROUGH THE HEART), the film was directed by Pete Travis, a relative newcomer who distinguished himself in 2003 with his acclaimed TV drama HENRY VIII.OMAGH focuses on Michael Gallagher (veteran actor Gerard McSorley), a quiet mechanic thrust into the media spotlight following his decision to pursue the shadowy figures who murdered his 21 year old son Aiden (along with so many others) on that dreadful afternoon. From the outset, the movie unspools with documentary precision, using hand-held cameras to enhance the sense of realism: The principal 'characters' are introduced in piecemeal fashion, via quick cuts from one scene to the next, but there's very little specific dialogue in the build-up to the explosion, in which 29 people died and hundreds were injured (primarily because the terrorist's vaguely worded tip-off led police to guide people directly into the bomb's immediate orbit), and the aftermath is reproduced in vivid detail. These difficult scenes are as sordid as they are necessary - the victims' relatives insisted on it - and the widespread grief which followed this appalling incident is depicted through the experiences of the remaining Gallagher family. McSorley's subsequent quest for justice leads him into contact with a wide variety of players, everyone from low-level police informants to some of Ireland's most prominent figures, only to find himself stonewalled by the politics of compromise. To date, no one has been tried for the Omagh bombing.Respectful, honest and unemotional, this painful reminder of recent history simply records events as they occurred, without affectation or sensationalism. The acting is *peerless*, with McSorley a quiet tower of strength in the central role, matched every step of the way by Michèle Forbes as his distraught wife, and Brenda Fricker as police ombudsman Nuala O'Loan whose investigation into the Omagh inquiry uncovered a catalogue of errors and deceit. Campaigning television at its very best.

Aidan McQuade A deeply moving account of the 1998 bombing of Omagh by the Real IRA and its aftermath. The film focuses on the struggle of the families of the victims to obtain justice in the face of puzzling official indifference.Gerard McSorley's performance as Michael Gallagher, the chairman of the families group, is extraordinary. It is reminiscent in its intensity and emotional range of Jack Lemmon in Missing. McSorley deserves to win every award for which he is eligible and it is unlikely that a better performance will be seen on film this year. When so much film making glorifies those who perpetrate slaughter across the world this film demonstrates the real heroism of victims of violence coming to terms with grief, rebuilding their lives and refusing to be ignored by the powerful.Superb.