‘Baltimore’ Review – A Commanding Imogen Poots Is A Rebel Who Finally Found Her Cause [LFF 2023]

People standing up and causing riots for their beliefs have always been part of our society. Whether it’s groups gluing themselves to the pavement, showing disturbing images in public places, or shouting through a megaphone in front of their followers, they’ve done it many times. While people try to be bolder to make the biggest impact possible, no one will leave a more significant mark on society than Rose Dugdale. Dugdale resided over one of the largest art heists in history and is now the focus point of writers/directors Christine Molloy (Rose Plays Julie) and Joe Lawlor’s (Helen) relatively compelling movie Baltimore.

Don’t let Baltimore, a reference to a town in County Cork in Ireland, fool you. While it starts with a heist, it’s not a heist movie whatsoever. No, it’s about Dugdale (Imogen Poots), a rebel without a cause who has finally – well – found her cause. The British dilettante turned IRA infiltrator is fighting for equality on many fronts. The one between rich and poor and between men and women. She has experienced both discriminations in her life. Her wealthy parents looked down on the poor people in society, and during her time at Oxford, women had no place in the academic world, while men certainly did. That unfairness resulted in very creative demonstrations and the robbery of her parents to get money for the IRA.

Her most significant achievement is, without a doubt, the heist on Bessborough House, which she and her two companions, Martin (Lewis Brophy) and Dominic (Tom Vaughan-Lawlor), pulled off in April 1974. Sporting a red wig and a French accent, Dugdale liberates “the paintings from the capitalist pigs” and takes 19 paintings, including a privately-owned Vermeer, back to her safe house. And that’s when the real hard work starts. She demands the release of multiple IRA associates and political hostages. Otherwise, she will destroy the precious paintings. At the same time, she also has to stay out of the hands of the cops, but with a baby on the way and nosy and way-interested neighbours, that might be harder than she and her companions have imagined.

What captures you right from the start isn’t the immense amount of paintings or the luxury of Bessborough House. No, it’s the impressive Poots (Green Room). Rose – born as Bridget – introduces herself right when she’s in the middle of the action. Sporting a red wig, bright make-up and a French accent, she demands the residents’ attention and yours. She’ll keep doing that, even during the scenes at the hideout cabin, where the action and drama make space for quietness and conversation.

Thanks to Poots’ compelling performance, the fully alive Rose oozes ferocity and determination but also anxiety and – whether she likes to admit it or not – desperation we expect from someone taking up arms and political actions. What makes her acting all the more powerful is that it never pressures you to support Rose but only wants you to understand her motives and what exactly drives her. Baltimore indeed allows the audience to make up their mind about whether or not Rose did the right thing without convincing them to go one way or the other.

To show Rose’s devotion to the IRA, her anger towards the UK policy, and her support of the Irish reunification even more, all the crew comes together beautifully. Lawlor and Molly use real-life footage – mainly about Bloody Sunday in Northern Ireland – which enhances Rose’s desperation and Poots’ enthralling acting. The thunderous and turbulent score by Stephen McKeon (Evil Dead Rise) perfectly encapsulates Rose’s rage, and the split screens by cinematographer Tom Comerford (Michael Inside) ensure that we know how much meticulous planning, determination, and passion you need to have to pull off a political mission.

Through its 90-minute runtime, Baltimore does lose its tension a little bit, as not every heist scene is as effective as it should be. However, to keep the audience engaged and the suspense high, there are the gripping scenes between Dermot Crowley (The Death of Stalin) – who’s a standout as the nosy neighbour Donal who doesn’t believe that Rose is ‘just’ a writer as she claims – and Poots.

The flashbacks are confusing; therefore, this feature isn’t as thrilling and threatening as it could have been. However, Poots’ piercing, vulnerable and anxiety-inducing performance ensures that Baltimore is still an exciting watch.

Baltimore was screened in the Official Competition section of the BFI London Film Festival 2023.

Directors: Christine Molloy, Joe Lawlor

Writers: Christine Molloy, Joe Lawlor

Rated: NR

Runtime: 90m