An Everlasting Piece also features a Scotch comic turned U.S. sitcom star - Billy Connelly. Connelly portrays a former hair piece saleman known as The Scalper, and not for selling concert tickets. The story concerning the theatrical release of this film stands in contrast to Steven Spielberg's posturing for Munich. Inspired by his barber father, star Barry McAvoy wrote about two barbers, one Catholic, one Protestant, who attempt to win the sole hair piece franchise for Northern Ireland in the 1980s. The film is certainly not incendiary as Paul Greengrass' Bloody Sunday, but between the laughs, tensions quickly arise, reminders of ingrained attitudes. In some way, An Everlasting Piece is closest to Levinson's Liberty Heights as an examination about the conflicts between cultural and national identity.

The main, or perhaps, mane reason to see An Everlasting Piece is for the humor, much of it verbal and joyously rude. Characters spend several minutes trying to clarify whether they are discussing "hair piece" or "herpes". The Scalper's idiosyncratic sense of theology includes reciting a letter St. Paul wrote to some hermaphrodites, and the declaration that, "The scrotum is the devil's tobacco pouch." The competing hair piece sales company is called "Toupee or not Toupee". The message is heartfelt, if obvious, but it is the weaving together of comic incidences that makes An Everlasting Piece fun to watch. Barry Levinson is inconsistent, with films like Diner, Tin Men and Wag the Dog on one end of the scale, and Sphere and the painfully unfunny Envy at the other end. Levinson's better films are generally the smaller projects, such as An Everlasting Piece. Even if Levinson can't be called a stylist, the good films prove he is no hack.