When I watch a movie with Gabriel Byrne, I think about his role as Paul Weston from the HBO series In Treatment. That is because he plays a role as a counselor trying to help others navigate the challenges of their life as he is trying to navigate his as well. His role in Dance First displays a comparative direction. He plays Samuel Beckett. In his role, he is learning through the ropes of trial and error as a playwright and philanthropist. Dance First is a direction of looking through the depths and the persona of Beckett himself. No one plays the role better than Byrne.

Dance First starts with Beckett in the heat of a monumental production. Before the production begins, he finds himself at odds. He is in a pattern of trying to figure out the good and the bad of his upbringing. That is because his path to being a playwright was not easy. Living through a life of all kinds of experiences, the door for him to feel greater feels like a halting point. The “halting point” is all that Beckett himself went through to gain a form of a craft. The path of the film is trial and error to the core. It is revitalizing of an auteur nature.

Most of the film focuses on the young Samuel Beckett. The younger version is played by Fionn O’Shea. It brings us through his turmoil with his family. That brings us to   James Joyce (played by Aidan Gillen) and his family. Beckett is navigating his expectations (even when he does not want to). That is because that is how he can develop his craft. With the family of Joyce, he builds a relationship with Lucia Joyce. She is the daughter of the family and is played by Grainne Good. Beckett’s personality is one of a few words. His style brings him into a landscape of different adventures.

As the film’s writing brings in Beckett gaining perspective on himself, real-life events play a part additionally. Beckett is a resistant survivor of World War II with Alfred Peron (played by Robert Aramayo), this is a factor in humanistic growth. The events of World War II are what loops Beckett’s feelings for Suzanne. Young Suzanne is performed by Leonie Lojkine, and Old Suzanne is performed by Sandrine Bonnaire. The personality of strength comes into play very thoroughly with a feeling of in-depth connectivity. Beckett may be in love, but he is still dealing with many demons. They are in their demise mentally.

The film is black-and-white—a mosaic of a man’s challenge and shame where the cinematography is in tune with the era of Beckett himself. As young Beckett is displayed, the film transitions to the older Beckett talking to another version of himself. It is like Beckett going back and forth trying to figure out how to put the pieces of what fits in his mind accurately. The writing of the film is presented like a play. I felt the audacity of frustration and sadness. I felt feelings of inadequacy, and that I was face-to-face with the reality of life finding meaning from Beckett himself.

The essence of love and enrichment is at the core of the performance of Shaw and Byrne as Beckett. As I have said Byrne makes me think of his role on In Treatment, this felt like a ride that was three times that height of emotions. More on terms with doing what it takes to put despair to good use. “Despair to good use” in creating something prolific, spellbinding, and life changing. Dance First is the life of one being controlled by many factors…but his words and his craft are of importance. There is a purpose to find the surreal keys of connection. I rate three-and-a-half out of four stars for Dance First.