The 2023 Irish action thriller, In the Land of Saints and Sinners, is one of those films that offers some insight into the machinations of our cultural overlords. It is one of those small budget adult dramas that does not get a ton of attention but does well on the streaming services after its initial release. It is not that these are bad films, but they are not expected to pack the theaters. These are the new version of the B-Movie that fill up the spaces between the heavily hyped, big budget films.

Anyway, the film is set in Ireland during the Troubles because every movie about Ireland is set during the Troubles. It stars Liam Neeson, who plays Finbar Murphy, a hired assassin who lives in a quiet coastal town. It is not all that clear who is assigning the hits, but they come through a local businessman who gets the assignments and hands them out to men like Finbar. This local businessman is not connected to the Troubles and makes sure to not get involved in politics.

The story arc for Finbar starts during his final assignment when the guy he is about to kill gives him some advice rather than beg for his life. Finbar’s habit is to grab his target off the street and take him out to the woods, where he makes the guy dig his own grave before shooting him with a shotgun. He then plants a tree on the grave. This target is a former contract killer, who urges Finbar to make something of the rest of his life before he ends up in the same place as him.

This leads Finbar to have a crisis of conscience and he decides to retire. Meanwhile, some IRA terrorists have come into town to hide out after having set off a bomb in Belfast that killed some children. They are staying with a relative who lives in the town and that relative just happens to have a run in with Finbar. Of course, Finbar solves the problem by taking the guy out to his favorite killing field. Thus, we have the central conflict of the film as the terrorists face off against Finbar.

This all sounds like the basis for a good old-fashioned thriller. You get some Irish history as a backdrop, and you get to see Liam Neeson use his “particular set of skills” to slowly take care of the bad guys. Neeson has been playing this role since he got super famous for doing it in the movie Taken. He is in his seventies now, but he still manages to make it work, just as long as he does not have to move around too much. In this film he is the wise old version of the lethal weapon.

Somewhere in the middle of the film, there is a black guy. Finbar is in a pub and there is a black guy playing Irish tunes on a fiddle. He is not a black leprechaun, but he is a short guy so that would have made some sense. Instead, he is a refugee from Africa who somehow settled into this tiny coastal town in rural Ireland. He tells Finbar that the reason he picked the town is he wanted to escape the violence of his home country and he once heard Irish music as a kid.

It gets more absurd. Later in the film there is the big show down between Finbar and the terrorists at the pub. The terrorists are shooting the place up and Finbar sees the sacred African hiding under a table, so he rushes over to save him. In other words, the wandering African is not just a ridiculous addition to a film set in 1970’s Ireland, he is now a sacred symbol of the film. In that scene you expect the people to scream, “leave the women and children but save our sacred African!”

Clearly, the quality control committee realized that their film did not have the required amount of diversity, so the script was sent back for a rewrite. The writers probably thought they were okay because they made the head terrorist a sassy girl boss with two thick headed male henchmen. That was not enough so they needed to figure out a way to add some color to story set in rural 1970’s Ireland and they settled on having a peripatetic African midget playing the fiddle in the pub.

We have all become used to the black washing and race swapping that goes on in the culture, but in a film like this you see how mechanical it has become. Somewhere in the process there is a crew of shrews and scolds who make sure there is a girls boss and the proper amount of color. They do not care if it makes any sense. Like people with rubber stamps in a bureaucracy, their job is to make sure the film has enough diversity points before it goes into production.

Eric Hoffer famously said, “What starts out here as a mass movement ends up as a racket, a cult, or a corporation.” In fact, it often becomes all three and you see it with the diversity rackets that now infest every institution. It is a lucrative racket for those who master the arcana, but it has been embedded in the economy. Like the green rackets, the diversity rackets are now part of the fabric of corporate life. It is assumed to be an essential part of every large enterprise.

The thing that holds it in place, however, is that it is a cult. There is little doubt that many of the people in that film thought it was stunning and brave that they had a little African guy skittering around the set. Those who thought it was a ridiculous addition to the film kept their head down because they did not want the lunatics from the cult of diversity hounding them over it. The result is we now have diversity everywhere when what we need is to have it nowhere.

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