The film features Marianne Faithfull in the role of a mother, and the film's title is the same as one of my favourite Van Morrison albums, and the songs used in the film are also by Van Morrison. Moreover, this film is set in Ireland.

So, how has it escaped my radar for 30 years? There are so many streaming services, so many purchase/rental options, so why are films like this nowhere to be found?

The film is an adaptation of Francis Stuart's 1936 novel The White Hare, and the director is, hold on tight... Dagmar Hirtz. That is, a German. How can a German portray Ireland and the Irish so beautifully?

Where are the good filmmakers? Why can't we watch films like this anymore?

Why is Ireland so beautiful... despite all the pain it has experienced in the past?

Let's all listen to Van Morrison together.

The Aachen, Germany native, Dagmar Hirtz, does a fine turn in his directorship of this truly Irish tale of strong filial bond and its accompanying trials, tribulations and joys. Ruaidhri Conroy and Ian Shaw play the two lads in question (Dominic and Patrick) who have been abandoned by their mom and must fend for themselves in a poor region of western Ireland. Due in no small part to the parental absence, the sibs develop this strong bond. But, alas, enter the femme fatale, Anya (Julia Brendler), who is initially Patrick's (the older boy) tutor. She is somewhere between the ages of the brothers which makes her a love target for both lads. At first, she falls in love with Patrick, much to Dominic's dismay. But mom, well played by Marianne Faithful, comes home for a bit, and adds more fuel to the emotional fire. The trio (plus the dog!) then goes to Dublin, without mom, to try to start a new life. Things get dicey in Dublin and Anya's interest starts to shift to Dominic, who loves her too, but is averse to stepping on older bro's toes.

But that's it for a mini plot synopsis: I'll let other reviewers do their own spoiling. What I must emphasize is how well acted, well written and how moving this story was, in no small part augmented by the poignant insertions of the Van Morrison title song, adapted to a liltingly Irish 6/8 time signature. Already a tender and moving film sans the sound track, the strains of that song emphatically augment the accompanying drama. Add to that a realistic, bittersweet, yet optimistic finale and you have the makings of a movie to warm your heart.