The Good, the Bad & the Ugly: Saoirse Ronan

In the return of our feature The good, the bad and the ugly, Eve Ducker takes a look at actress Saoirse Ronan's best and ugliest work

Eve Ducker
17th February 2020
Image:IMDB

The Good - Ladybird (2017)

If we didn’t know how to spell her name before, we sure did after this powerhouse of a performance. This glorious coming of age film slotted her perfectly into the history books as well as gaining her a third Oscar nomination for best performance. This role allowed her to be young, bright and bold. Her creativity brought another dimension to moody teenager giving the other actors something to really play off. While it didn’t win her the Oscar accolade, it put her firmly on the map and gained a place in many hearts.  

The Bad - On Chesil Beach (2017)

This role seemed perfect for Ronan. Period, check. Romance, check. The result however was not quite so perfect. This was a misstep and her bland presentation of a very deep character meant that this film was one to be speedily forgotten, which is unfortunate as the cinematography was beautiful. Sometimes it can be the chemistry between leading actors that can be lacking, this was the case here and playing with the sensitive subject of consummating a marriage you must believe the lust between the main characters between Ronan and Billy Howle (Edward Mayhew) which I didn’t at any point.  

The Ugly - Loving Vincent (2017)

This animation was mutually love by critics and the public. For Ronan however it was a step truly into the unknown. An art-house animation following the search for answers about Vincent Van Gogh’s death. It was documented in only paintings (65,000 by 200 artists to be precise) setting it apart from other films, it meant Ronan was a painted figure throughout. Due to this there was greater demand for use of her voice a challenge she certainly rose to. This film was proof that she could appeal to an art house audience as well the mainstream.

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