Saipan: Roy Keane World Cup drama is a highly entertaining slice of Irish football history
In the summer of 2002, a dispute inside the Republic of Ireland’s football camp spiralled into a national controversy. Few sporting rows have lodged themselves in the Irish imagination as stubbornly as Keane v McCarthy in Saipan, culminating in Keane’s departure from the Irish World Cup squad.
Directed by Glenn Leyburn and Lisa Barros D’Sa, Saipan takes a deliberately narrow focus of the saga, centring on the breakdown of the relationship between Ireland captain Roy Keane and manager Mick McCarthy, framing it as an intimate power struggle. This choice grounds the film and keeps it from slipping into nostalgia or easy hero worship.
Roy Keane (Éanna Hardwicke) is all coiled intensity. The film captures his sense of grievance and moral rigidity without smoothing over the damage it causes. Keane’s frustrations centre on what he sees as a lack of professionalism within the Irish setup in Saipan, from inadequate training facilities to a broader culture of complacency and indulgence.
Read more: Saipan: the story behind Roy Keane's World Cup walkout on Ireland's football team
Keane is a man driven by standards that feel absolute, and the film is careful to show how those standards inspire as much as they alienate. Hardwicke’s terrific performance sits in the space between principle and obsession. He never softens Keane into a misunderstood martyr, nor does he paint him as a simple villain.
Steve Coogan plays Mick McCarthy with a quiet, pained restraint, but the portrayal is far from generous. His McCarthy is isolated and increasingly evasive, a man struggling to assert authority while appearing overwhelmed by events of his own making. He is framed as a figure losing control, unable or unwilling to meet Keane’s demands head on. Coogan avoids outright caricature, but the balance of sympathy is clear, and Saipan’s version of events leans decisively in Keane’s favour.
Saipan also addresses Keane’s questioning of McCarthy’s Irishness, a move that shifts the dispute beyond football and into the terrain of identity. The film does not endorse this line of attack, instead pointedly setting it against the legacy of Jack Charlton (Ireland manager from 1986 to 1995), another English-born figure, but one whose leadership was rarely challenged. (Charlton is one of only 11 honorary Irish citizens.)
McCarthy was born in Barnsley in Yorkshire, but is one of many second-generation Irish players who qualified for the team through their Irish parents. By framing his criticism in these terms, Keane attempts to undermine McCarthy’s legitimacy, using Irishness as a tool in a conflict about standards and authority, and gesturing towards the complexity of Ireland’s relationship with Englishness.
Celtic Tiger excess
When the film shifts its focus to the Football Association of Ireland, its patience wears thin. Saipan portrays an administration steeped in Celtic Tiger excess, treating the 2002 World Cup as a jolly rather than a professional obligation.
In the film version, brown envelopes are slipped out with ease, camp followers hover with no clear purpose, and champagne bottles appear in saunas as preparation drifts into farce. The depiction is unmistakable: this was an organisation cushioned by boom-time arrogance, insulated from consequence, and wholly unprepared for a player who demanded standards it had little interest in meeting.
Balancing the drama, there are scenes of unexpected humour, particularly in scenes involving the squad, where downtime, routines and shared spaces are closely observed. Visually and tonally, these moments recall Taika Waititi’s Next Goal Wins, with comedy in proximity and rhythm rather than punchlines. That lightness is always shadowed by the dangerous edge of Keane’s disapproval, which hangs over the group and gives even the quietest scenes a sense of latent threat.
The film’s use of archival footage and music leans heavily into nostalgia, situating Saipan firmly within its early-2000s moment. The opening notes of Oasis’ Acquiesce land purposefully, a song built around unity and defiance, and sung by two brothers whose own feud would become legendary. It is an on-the-nose choice, particularly coming from an English band with a strong Irish heritage, but an effective one, framing the film around themes of loyalty, fracture and unresolved conflict before a word is spoken.
Saipan is a highly entertaining slice of both Irish and football history. This fallout was never really about one training session or one confrontation. It was about standards colliding with systems, and a country watching itself argue in public. That the dispute still provokes such certainty and division is part of the film’s point. Some rows are simply never settled.
Laura O'Flanagan does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.