That is a reference to the character of Joy/Hulga, in O’Connor’s short story, ‘Good Country People’.
If their personality changes, then you must get a thief to steal the leg!’ If a character is wooden, they should have a wooden leg. That’s also a trademark of Flannery O’Connor: ‘Writing isn’t a matter of saying things, but showing them to the reader. The depth and intrigue of the latter comes from the richness of its characters, rather than from convoluted events or clues that are hidden from the audience. The film in its entirety has been rightly rewarded with awards and nominations aplenty, as have, in particular, McDormand and Sam Rockwell for their performances and writer/director Martin McDonagh for his screenplay.
Three Billboards is an accomplished piece of filmmaking. The cat-and-mouse chase that this premise leads us to expect is turned on its head at every opportunity, with almost every member of the cast of many that we encounter playing both victim and perpetrator at some point. Victim Angela Hayes’s mother, Mildred, uses the billboards to issue a challenge to local police chief, Bill Willoughby (Woody Harrelson), about the failure to arrest anyone for the crime. The territory we start from here is a small town that, a few months prior to our introduction to it, lost one of its residents to a brutal murder. Both start with familiar or at least unremarkable territory and take their readers/audience to extremes, and in doing so, knock out the ‘“common sense”, which is vaguely secular, rational and enlightened, that corrupts true inspiration.’ The incongruous intrusion of the grotesque into the everyday that was the hallmark of O’Connor’s fiction also characterises this film.
The office is manned by Red Welby (Caleb Landry Jones) who, when we meet him, is reading Flannery O’Connor’s ‘A Good Man is Hard to Find’. Mildred Hayes (Frances McDormand) visits the office of a small advertising company in order to hire the vacant three billboards outside Ebbing, Missouri.
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