A world-weary political journalist picks up the story of a woman's search for her son, who was taken away from her decades ago after she became pregnant and was forced to live in a convent.
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When former journalist Martin Sixsmith is dismissed from the Labour Party in disgrace, he is at a loss as to what do. That changes when a young Irish woman approaches him about a story of her mother, Philomena, who had her son taken away when she was a teenage inmate of a Catholic convent. Martin arranges a magazine assignment about her search for him that eventually leads to America. Along the way, Martin and Philomena discover as much about each other as about her son's fate. Furthermore, both find their basic beliefs challenged. Written by
Kenneth Chisholm ([email protected])
When Ireland's RTE One showed this on St Patrick's Day 2016, they skipped over all of the opening animated co-production partner Production Company Credits that included The Weinstein Company, Pathe, BBC Films, The UK National Lottery, BFI (British Film Institute). Its plausible that this may have been done as a creative broadcasting choice due to such an Irish subject, being co-funded by many British companies, on a day celebrating Irishness, may have caused offence to some. See more »
Goofs
After Alex talks to Martin on flight to America, Alex leaves and goes to stairs (going to upper deck - ie like 747). When the plane is landing, the view of the landing plane is one with a single level passenger compartment. See more »
Quotes
Sister Hildegarde:
Let me tell you something. I have kept my vow of chastity my whole life. Self-denial and mortification of the flesh; that's what brings us closer to God. Those girls have nobody to blame but themselves and their own carnal incompetence!
Martin Sixsmith:
You mean they had sex.
Sister Hildegarde:
What's done is done. What do you expect us to do about it now?
Philomena:
Nothing. There's nothing to be done or said. I found my son, that's what I came here for.
[reprimanding]
Philomena:
Martin.
Martin Sixsmith:
Hang on, hang on, I'll tell you what you can do. Say sorry, how ...
[...] See more »
Crazy Credits
Real footage of Anthony/Michael is shown at the ending credits See more »
Sometimes I get the feeling filmmakers have lost their way. Formulas work and make the basics irrelevant so we get carbon copy blockbusters appealing to the masses clearly showing a reckless disregard for what filmmaking is all about: visually telling a story. And then a film like Philomena comes along and reminds us of the magic that can happen when a true craftsman and artist skillfully blends the basic ingredients of story, character, camera, and music into an exhilarating and powerful work of art. This film is satisfying at every level and gives me hope that some people still know what they are doing when they take the money and do their job effectively. The folks on this one should be extremely proud of their efforts.
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Sometimes I get the feeling filmmakers have lost their way. Formulas work and make the basics irrelevant so we get carbon copy blockbusters appealing to the masses clearly showing a reckless disregard for what filmmaking is all about: visually telling a story. And then a film like Philomena comes along and reminds us of the magic that can happen when a true craftsman and artist skillfully blends the basic ingredients of story, character, camera, and music into an exhilarating and powerful work of art. This film is satisfying at every level and gives me hope that some people still know what they are doing when they take the money and do their job effectively. The folks on this one should be extremely proud of their efforts.