breakfastonpluto

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	Breakfast on Pluto

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BREAKFAST ON PLUTO
Available from the 18th April 2006

SYNOPSIS

Set in the politically tumultuous London in the '70s, this tale follows the exploits of Patrick
"Pussy" Braden (Murphy), a transvestite prostitute on a quest to find love and a place to
call home. Abandoned as a baby in his small Irish hometown and aware from a very early
age that he is different, Patrick survives this harsh environment with the aid of his wit and
charm, plus a sweet refusal to let anyone and anything change who he is.

Abandoned at birth in late ’50s smalltown Ireland, Kitten – real name Patrick – loves to
dress in women’s clothes and flounce about the house as a girl, much to the obvious
dismay of his foster family. He barely cares what anyone else thinks and employs his own
internal monologue of random thoughts and crazy dreams as a wall between him and the
silly, ‘serious’ world about him, with its IRA bombs, guns and murders. He’s a bizarre,
intoxicating creation and, in turns, a very seductive narrator.

His childhood over, Kitten is soon on the road with a touring glam-rock band, playing
Bonnie to the lead-singer’s Clyde and appearing onstage in local community centres, in full
drag, as ‘the squaw’ to his new lover’s chief. Always on the move, he crosses the Irish Sea
in search of his mother and – once in London – encounters a panto cast of characters.
There’s the man (Brendan Gleeson) who dresses up as Womble Uncle Bulgaria to entertain
kids; a suave would-be murderer (Bryan Ferry) who lurks in a Jag on a dark side-street and
tries to strangle Kitten with a silk neck-tie; a lonely hang-dog magician (Stephen Rea) who
falls head-over-heels for him; and a policeman (Ian Hart) who accuses him of terrorism but
later delivers him to the relative safe-house of a Soho peep-show parlour.

Is any of this real? Is it hell? And what a very dull question, Kitten might add. ‘Breakfast on
Pluto’ is a delightful fairytale that uses the very real world and its hardships – a long-lost
mother, terrorism, abuse – as the theatre for much camp playfulness and wish-fulfilment.
Jordan – drawing on Patrick McCabe’s novel – gives us a memoir so eventful, so rapid, so
brimming over with flights of fancy that we are entranced by Kitten. Everything – and
everyone – else is peripheral. Surprisingly – and much to the credit of both Jordan and
Murphy – Kitten emerges as more than a fascinating caricature. He’s a splash of vibrant
colour within a monochrome world, an antidote to (and reflection on) the Catholicism and
conservatism of ’60s and ’70s Ireland and, on a more personal level, a credible reaction to
his own abandonment and search for identity. The film’s interests in cross-dressing,
performance, the sex industry, our capital’s back alleys, the Troubles, messy childhoods
and the journey from Ireland to London will be familiar to those who know ‘Mona Lisa’, ‘The
Butcher Boy’, ‘The Crying Game’ and other Jordan films. ‘Breakfast on Pluto’ is a wild,
imaginative and daring project that could equally be dismissed as chaotic and indulgent or
as wild, imaginative and daring. I’d say it’s all these things – and it’s a hell of a ride for it.