Charlie Bird, a notable figure, found himself in Fahy’s pub in Clonakilty, Co Cork in June of last year, following an unfamiliar tale. This narrative revolved around a largely forgotten extortion request in 1979 by an enigmatic group who warned the Department of Agriculture officials they would unleash foot-and-mouth disease into the cattle community, a threat that posed a dire risk towards the underpinning of the economy at the time. This was to be Charlie’s final story.
Beside him, as always, was Claire, his wife and the executive producer of the subsequent documentary, Ransom ’79, produced during that fateful June in Clonakilty. Claire served not only as his partner but also cared for him as he battled against motor neuron disease (MND) which was taking over his body.
She fondly recalls how they were right in the midst of MND while producing Ransom ’79. Charlie was halfway through a three-year illness. However, he never surrendered to life; he chose not to wallow in self-pity in spite of his growing fear of his deteriorating condition.
The narrative’s thrill was what fuelled him to press on; only months before he passed away this March, he discussed how he had stumbled upon the Ransom ’79 tale, as if it had simply occurred by chance. He had been engaged on several podcasts when he considered talking to a couple of retired chief Gardaí. This plan was hatched before the outbreak of the pandemic, leading him to reach out to Tom McCaughren, a longtime RTÉ security correspondent and a colleague.
Enquiring about retired senior guards who could possibly share intriguing anecdotes, I was directed to Willie McGee, among others. Formerly leading the fraud squad, I knew little of Willie until I made contact. A colleague assisting in the production of my podcasts initiated the contact on my behalf. He relayed that Willie told him about a scheme in 1979 that sought to extort five million pounds from the State, threatening to cause a foot and mouth epidemic across the nation.
Commencing the project, my friend and ex-workmate from our days on RTÉ’s 7 Days current affairs programme, John Kelleher, joined as the producer. Having known Charlie for half a century, John believed the story upscaled into a captivating documentary, and subsequently invited me to participate in its production. Excitedly, I agreed to collaborate. However, the inclusion of director Colm Quinn brought about anxious undertones.
Around this time, Charlie began gloomily forecasting that his health was deteriorating. John reported that a slur had developed in his speech, leading Charlie to anticipate the worst. Though we had initially pitched the ransom documentary idea to RTÉ, Charlie’s diagnosis of MND necessitated a shift in focus. As a result, Charlie Bird: Loud and Clear, a film about his condition, began production and premiered on RTÉ in June 2022. Later in that year, a turn of events occurred when RTÉ rejected Ransom ’79, paving the way for Virgin Media’s involvement. Whilst the quest continued to uncover the true identity of the extortionist, Charlie’s deteriorating health condition necessitated increased alterations to the project.
Colin Murphy, a writer with previous experience collaborating with Charlie on a marriage equality referendum play titled A Day in May, was actively engaged by Charlie himself to work on Ransom ’79. Reflecting on their teamwork, Charlie and Colin come across as a dynamic detective pair. Quin states that Charlie constructed interview queries in advance, utilising voicebank software tailored by Keith Davey of Marino Software. Occasionally, additional questions would be hand-written, then read by Colin. The junior member was often able to aptly deduce the implications of the seasoned journalist’s questions. A resounding thumbs up from Charlie indicated all was understood.
Charlie’s welfare superseded all else. Murphy confirms being asked why they were persisting with the project. Essentially Murphy was questioning Charlie’s readiness to discontinue it, affirms that it was acceptable to do so. The paramount concern was Charlie’s physical and mental well-being, and every attempt was made to highlight this. Colin perceived the responsibility he carried and was gratified by Charlie’s comical dismissals, which reiterated his commitment to pursuing the story.
In order to keep Charlie’s health intact, Claire and Quinn strategised shorter filming periods. They pursued the leads tirelessly. At one juncture, Colin asked Charlie the significance of the story to him. His response, penned on a piece of paper, reads: “It’s keeping me alive.”
According to Claire, collaborating on Ransom ’79 didn’t extend Charlie’s life, but it granted him something to look forward to. She compliments his astonishing recalls, being able to remember the minutest aspects any narrative. His embedded curiosity and journalistic instincts engaged him deeply in this story. It made him disregard his MND momentarily, and in a way, rejuvenated him.
“Ransom ‘79″ serves multiple functions, including operating as a mystery, paying homage to journalism, offering a covert exploration of Ireland’s historical fringes, and scrutinising the convergence of criminal elements and paramilitary organisations. The narrative also charts Charlie’s journey, highlighting his frequent appearances at numerous key national and global events as an RTÉ correspondent, thereby underlining his consistent proximity to important occurrences. Kelleher articulates that, despite his debilitating terminal illness, Charlie still retained his signature investigative curiosity.
“Four weeks prior to Charlie’s death, he requested my presence at the Stardust Vigil, as he intended to personally distribute portraits of the victims to their respective families—a tradition he maintained annually,” reveals Claire Bird.
Kelleher maintains that Charlie’s renown was beneficial in facilitating access and streamlining proceedings. “Furthermore, numerous individuals we interviewed had a genuine fondness for him, clearly recognising his deteriorating health and acknowledging his venerable journalistic reputation.”
Colin Murphy fondly recalls the ease with which opportunities presented themselves by merely name-dropping Charlie during introductions, dispensing with the need for awkward self-introductions.
“The fascinating aspect of Charlie’s fame,” Murphy elucidates, “was that it hinged largely on a mixture of bonding and trust, from influential political insiders, the IRA, to everyday folks who welcomed him, ready to share their experiences spontaneously.”
Charlie consistently advocated for the victims of the Stardust disaster, as echoed by Mould: “He was adamant about my accompanying him to the Stardust Vigil four weeks before his demise, intending to distribute portraits of the victims to their families—an annual ritual he faithfully upheld.”
Such unyielding determination likewise extended to the making of “Ransom ‘79”. Quinn asserts: “The entirety of this film-making odyssey can be attributed to Charlie’s knack for sniffing out compelling narratives. As underscored by Kevin Cassidy, former private secretary to the agriculture minister, in his comments to Charlie during the film: ‘Without your initial contact, I wouldn’t have divulged this anecdote.’ Charlie’s talent for identifying a captivating tale never faltered.”
The day in June in Clonakilty was a clear demonstration – I was there, offering research support for the team. Charlie darted around Fahy’s Bar, albeit with some instability, as the camera setup was in progress. Kelleher holds the view that during the filming and research process, they journeyed to over 20 distinct sites across the country. Instances like the Clonakilty visit ended up being discarded in the editing suite as new leads revealed themselves elsewhere. The rate of the investigation was incessant, even though Charlie’s deteriorating health decelerated the timetable. A poignant moment captured in the documentary was Charlie’s early admission to Murphy: “I don’t reckon I’ll make it another year”. Later on, a fall dealt a considerable blow to his confidence. The film never downplays the effects of his disease.
“Witnessing someone you care about endure as Charlie did made me cognizant of life’s vulnerability and underscored the need to embrace life wholly, as you’re never sure what might come your way,” declared Claire. “My time working on the documentary with Charlie was incredibly meaningful; it allowed me to devote all my time to him, and that really underscored the value of time.
MND is a heartbreaking illness, and ultimately it whittled Charlie down. It’s futile fighting a lost battle,” Claire adds.
His passing still came as a jolt. The grief is tangible in the realisation that Charlie won’t live to see Ransom ’79 shown in the cinema.
“He praised the documentary, and teared up watching it, possibly because he was aware it was his final project,” shared Claire. “As his life drew to a close, he valued family time above all else, he wanted to spend moments with his daughters and grandchildren. But he took the time while in hospice to compile an invite list for the premiere, showing his foresight.”
The ransom tale has everything: clandestine codes, Mini Coopers, leather briefcases, extravagant amounts of money, potential speedboat escapes and even the perception that for some characters it represented “one last gig”. For Charlie Bird, it was much the same.
Claire comments, “Despite battling his terminal illness, Charlie painstakingly toiled away to bring ‘Ransom ’79’ to fruition.” She hopes that the audience will not merely perceive it as Charlie’s final documentary but recognise it as a remarkable journalism piece. Claire adds that Charlie Bird, the courageous man, did not let his illness deter him from unfolding a profound narrative.
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Claire reveals her bitter-sweet feelings – “Once this journey ends, I’ll envelop myself in my grief, mourning the loss of my wonderful husband and attempt to navigate life without him.” She affirms that nothing can alleviate the pain of loss except time.
“Charlie was unable to speak, yet he found a way to communicate, his message resonating clear and strong.”
The premiere of ‘Ransom ’79’ will take place at the Fastnet Film Festival in Schull, on Wednesday, May 22nd, with the subsequent nationwide release set for Friday, May 24th.