Die Touristenfalle - Robin Hood's tollkühne Erben

Restless Natives is a lovely little curiosity of a film from Scotland. I first discovered the film as a kid and had watched it about 4 times, and had very fond memories of it. On seeing it again recently, I think it is a minor masterpiece of Scottish Comedy. Great idea, fun script, charming acting, good supporting cast, great uplifting music from Big Country and beautiful locations. As a Scotsman, we always get a bit patriotic seeing Scottish locations and hearing Scottish accents in films, and this doesn't disappoint. Forget Braveheart, this is a film that makes me proud to be a Scot. Now, I'm not saying this is by any means a brilliant film... I'm saying that if you like your comedies quirky, silly, fun and with a bit of heart then this is for you. Fantastic acting from Vincent Friell, Joe Mullaney, Bernard Hill, Robert Urquart and Ned Beatty. This film is great, I urge anyone who has seen it years ago to go and get the DVD when it comes out - you won't be disappointed. Favourite moments have to be Vincent's sweeping in the park, the cop in the joke shop, any scene with Ned Beatty and that brilliant chase across Scotland at the end. Yes, there are plenty of weak points in this film too but it makes me smile so much I don't care.

I saw this film years ago, taped it from TV and watched it over and over. I wait patiently for some distributer to produce 'Restless Natives' on DVD so that it can, once more, be a part of my collection.

Onto the film: it is rare that you see a Scottish film that is entertaining, doesn't have actors forcing their accents and actually makes you think "being Scottish isn't so bad" - this film actually fits the bill.

It takes the old "Butch Cassidy & The Sundance Kid" formula, transplants it into Scotland, and provides non stop entertainment - you may even be inspired to wear a clown mask and rob tourist buses whilst becoming Scotlands greatest tourist attraction too; it can be that inspiring.

Other reviews state that this film has a weak ending, however I feel that there was nowhere else for the film to go; this statement in itself doesn't make too much sense until you have seen the film though.

All in all, an enjoyable film that will bring a smile to most faces and perhaps even relight the fire of Scottish patriotism. You may even enjoy the "Big Country" soundtrack.

In 1985 two American directors came to Scotland to make a movie and jump on the Bill Forsyth bandwagon.

Cary Parker made The Girl in the Picture. Michael Hoffman made Restless Natives.

To be fair you would be hard pushed to think that both movies were made by Americans. However they did fail to capture the fabled Scottish whimsy which Forsyth could do effortlessly.

Restless Natives is about two friends living in Edinburgh and their lives is going nowhere.

Ronnie (Joe Mullaney) works in a joke shop. Will (Vincent Friell) worked as a street cleaner but was soon fired.

They decide to become modern highwaymen by robbing tour busses usually full of American tourists that traipse around the highlands. To hide their identity Ronnie wears a clown mask and Will wears a wolf mask.

Pretty soon both become local heroes courtesy of throwing some of their money away to people in need.

The police and one CIA agent (Ned Beatty) do not see the funny side of these robberies.

The movie was regarded as quirky and charming at the time of its release. Now it looks like a hotchpot screenplay. It is hard to root for two teenagers robbing older holidaymakers with guns.

It was a surprise that their identities remained undiscovered given that all the kids in the neighbourhood knew who they were as well as so many others.

Even the love interest between Will and a young Scot tour guide was a bit of a stretch.

You really have to take the movie as a flight of fancy and fantasy.

The best thing about the movie was the music from Big Country. Back in the day they were regarded as equals with U2 with their rousing Celtic guitar sound.

Restless Natives will begin with a series of intimidating compositions introducing to us two young men in ownership of a motorcycle and whom appear to be somewhat less than hospitable. In close up format of various parts of their bodies, the pair don helmets and leather clothing to an ominous drum beating periodically so as to ride out into the rural nothingness of what turns out to be the Scottish highlands. They are there to rob, thieve and steal from the hapless people inhabiting vehicles whom may make their way down the remote road nearby; and when one car does arrive housing an upper-class English family out on holiday, they fail to impose themselves and the attempted robbery actually turns into a coming to the aid of the lost family. The film jumps from one thing to another in relatively quick time, painting an image of the people we're supposed to be dealing with before effectively demythifying them as these amateurish and rather hapless young men trying to raise money. Therein lies the nature of the film, a piece going to impressive lengths to deconstruct and explore two young Scottish men as well as their lives and mindsets after being later labelled as something else, in what is an an edifying and thoroughly engaging little British film from 1985 which really hits the marks it aims for.

Vincent Friell plays one of them, named Will; a young man who's the son of a married couple and a brother to one sister living a working class life in Scotland. He sweeps roads, but maintains a healthy relationship with his family and other young friend of equal age Ronnie (Mullaney), a local kid who's an employee of the town's joke shop. Both of the boys are at a stage in their lives in which aspirations are appearing to form and the moulding of the early stages of adulthood appear ostensible, with both boy's issues and problems primarily work and girl orientated; Will despises his luckless job as a road sweeper and running the joke shop can be rather a pain for Ronnie. One day, out of sheer blind maddening suggestion in what effectively begins as a bit of fun, they decide to use some joke shop equipment in a pair of masks, a toy Luger pistol and a foam gun; ride up into the hills as they've done so before and rob coach loads of tourists. What follows is a film which hops from coming of age tale; to romance; to police procedural thriller all wrapped up into one really effective delivery.

American director Michael Hoffman, working from a Ninian Dunnett script, keeps everything in check; aside from the romp that it is, Restless Natives is ultimately a cautionary tale about the pratfalls of crime and a somewhat lowly conceived adopting of celebrity status. Aside from anything else, it is a very good and very involving one. The two attain somewhat of a cult following as the police, led by Ned Beatty's character, struggle to apprehend them; effectively rendering them Robin Hood figures in that their taking from the people specifically there so as to pump money back into the system, through tourism, before distributing the cash to, on occasion, the homeless around the area. An irony here reading something along the lines of tourism in the area booming like rarely before, because of the potential at being held up by these two or the chance of catching a glimpse of them. The social affect the two anonymous thieves have on everybody is highlighted in Will's own father's (played by Bernard Hill) natural reaction to them upon a newspaper report; here being a man whom berates the charge on his gas bill before complimenting the two bandits on their work he deems was was only going to pump money back into the already established-to-be-greedy system in the first place.

Things become complicated when Will spies local tour guide Margot (Lally) during one of the runs, the venturing to the coach depot a dangerous ploy in the face of blind affection to do what he does in attempting to find her so as to woo her. Margot's attraction to Will is natural and unforced, her fascination with folk figures or mythical people whom have gone on to become legends, or whatnot, is the reason she's a tour guide thanks to her knowledge on such things; in Will, a person whom has been previously labelled exactly this is right in front of her and beginning to interact with her. Complications arise, people close to the leads begin to discover the truths surrounding them and Will's own relationship with Ronnie hits its own barriers when the moral implications of their actions are explored.

Hoffman balances all of the strands, characters and content really well; Will's actions eventually seeing him congratulated by a shady English criminal at a local snooker club as well as those of a similar sort around him. The club of which is decked out in a dangerous red shade, those located within of a criminal mindset and here highlighting the path Will seems to have been given the opportunity to go down should he so wish; his brief newfound sense of friendship with these people echoing what he had before with Ronnie in the joke shop. The locales are key here, the joke shop being an operative place of business more broadly representing a righteous and moral way of life through earning a living; with the snooker club and most of those whom inhabit it a path more representative of an immoral or sinful way of life, somewhere by which robbing people effectively gets you. Restless Natives appears to be the sort of rare find one just doesn't discover, and at a time when the current climate of coming of age tales are mostly processions of crass and putrid sex jokes, it is a crying shame more people apparently cannot be exposed to films such as this.

This is the kind of film that always cracks a smile on your dial. It's cute without being irritating, it's stupid without being offensive - it's all you want in an old fashioned comedy. And the accents are like honey lozengers; infact this is the very film you should watch if you are ill, or recovering from a hangover wrapped in a blanket infront of the TV. And the soundtrack by Big Country is an absolute hoot! What a film!!