Mischief Night

A great film, offering a slice of life in present-day Leeds that most of us would rather not know about. The plot is almost incidental. The film's success lies in the portraits of the two families, one native white, the other second-generation Pakistani and their complex love-hate relationships. Kelly Hollis is superb as the gutsy single mother with three kids by different fathers, coping on her own with the racial antagonisms that have blown up in Leeds since her own childhood.

The flimsy storyline follows the youngest lad as he and his mates prepare for Mischief Night, when children (or at least white children in Yorkshire) are allowed to create havoc by playing tricks on adults. The more subtle interactions are in the Pakistani community, where the older daughter is resisting an arranged marriage, the older son cannot communicate with his Pakistani wife except by meeting her incessant demands for sex, and the local drug dealer is hired to sort out the Jihadi extremists.

The characters are for the most part grotesque, but with enough humour - the dialogue is particularly strong in every sense - to make them both watchable and believable. The acting is splendid, especially by the youngsters, and the visual portraits of the streets and houses of the two communities are vibrant. A bleak but absorbing, funny and eventually heart-warming film.

Within Mischief Night actually lies a pretty darned good idea and an approach from a director I feel is more than competent. After having seen the film, I learnt that it was a part of two others thus forming a trilogy which led me to my suspicions that director Penny Woolcock is a competent enough director. Woolcock knows what she wants out of actors and knows how to create a sense of happening on screen. I read that in the prior film to this entitled 'Tina Takes a Break', the protagonist of the film is caught robbing money for a trip to pay for her and her kids – the kids get the money and with Tina away in jail, they get a holiday parent-free.

Such a juxtaposition to have kids away from their parents but enjoying themselves in the manner kids do. I just wonder what Tina must've thought whilst being away from her children so long: her anguish clashing with her kid's delight. If it's anything to go by, Mischief Night achieves a similar juxtaposition and director Woolcock has matured over time; either that or she's just braver, because now in this film, she's looking at interracial relationships and friendships; opening up an entirely different can of worms.

But rather than have a separation from loved ones, the film partly focuses on children as an innocent and eager bunch out to cause mischief on something known as 'Mischief Night'. The film is another juxtaposition of ideas, with one boy in debt to a drug dealer and having to act on a whim in order to repay him and save his own skin. The happy, cheerful and quite innocent story of three young kids gearing up to cause mischief is clashed once again with the dreary and somewhat awkward at times drug dealing fable.

I think for the most part, Mischief Night works but I couldn't help but wonder how brilliant it could've been. There's a potential here. If you're like me and you cannot help but marvel at multi-strand, potentially long and complicated, perhaps drawn out crime sagas about lowlifes and characters as real as possible then chances are you'll get some kicks out of Mischief Night. But part of the reason it's not brilliant is its grounded and fun roots twinned with an innocent core. I cannot help but wonder how brilliant it might have been had it been a bit more, well, 'pulpy'.

But of course this is just an opinion although I'll try to state my case. Some of the moments when you genuinely feel a reaction within your body to an image or scene on screen in this film arrives in the form of a neighbour who's potentially a little too friendly as his silhouette fills the window after he spots a couple of children playing with a train-set oddly placed in his greenhouse. Another instance occurs in which someone of an immature mentality has built-up such a hatred towards another that they've got their hands on a gun and are willing to do the deed. One other running story involves a young kid on the verge of hopefully finding some sort of career but is mixing with people of a criminal mindset.

So the material is there but of course, the film cannot help but stay rooted. The ominous guy in his doorway idea is not played out in a particularly good or clever manner when something much more dramatic would've sufficed; incidentally a film that was released shortly before, entitled Running Scared, dealt with a similar set up and identified its pulpy roots and played the scene out better. Woolcock identifies the road of crime fiction but doesn't go down it. If she does, then she goes half way down before turning back and getting back to the beginning again but deliberately so.

The darker and more ominous scenes occur in a gloomy park late in the evening where Asif (Akhtar) must deal in drugs to repay a debt he owes to Qassim (Simpson) following an incident with his car. The atmosphere is distinctive in its change and comes as a welcome break from the colourful, bright and upbeat scenes of kids being told 'Never to go to death row' (which is a street full of relatively unkind neighbours) but naturally, they go anyway. Unfortunately, death row includes the sorts of people such as lesbians and such, needlessly discriminating a certain group for the sake of potential antagonism to the boys.

Other than all this, the film is a hybrid of crime; comedy and of coming of age. Young eyes and minds will come to learn of interracial friendships or relationships and others will build the courage to go against type and learn of individuality. Woolcock puts an interesting spin on most things, the fact the female is the aggressor in the family very early on as the husband cowers and calls for help; something you certainly couldn't see happening in films such as Nil By Mouth. Woolcock also taps into life in Leeds as a whole, having one character bellow to others as well as the audience the limited prospects and the increase in foreigners. While Mischief Night is not brilliant, it still could well have been; but I think Penny Woolcock made the film she set out to make and that in itself usually garners some commendation.

A very uncompromising, direct portrayal of cultural life and tensions in the north, but with a heart and the daring to find humour in quite traumatic situations. From 2006, it's language (though accurate) and themes seem edgier than ever today, probably wouldn't get made in today's climate. I had no idea what it was about until I watched it, I just remember Mischief Night growing up then later discovered it was a peculiar regional phenomenon. Apparently the final part of a trilogy which started with Tina Goes Shopping in 1999, I'll have to check them out. Compelling viewing and some great performances.

Pushed somewhat as being the 'new' East Is East and from the producers of 'Shameless', the scatological Manchester-set socio-comic series on Channel 4, director Penny Woolcock's 'Mischief Night' celebrates the racial (dis)harmonies of a Leeds estate, between a Pakistani family and a white one.

Starting breezily, giddily even, with laugh-out-loud capers as our characters are introduced by the endearing, if down-to-earth - and often, very earthy - mother of the white family, played by an impressive and natural Kelli Hollis, we are lead on an enjoyable journey of the lighter - and darker - side of living on the dole in the noughties.

For pretty well the entire movie, the positive aspects of chaotic lives are highlighted and most of the outdoor scenes feature bright, yellow sunshine, the negative ones dealt with a knowing comic overtone, which could be argued does not portray real life but first you have to get people to watch your film, not run a dour documentary, the like of which we could endure on BBC2 almost anytime. Many scenes about drugs reminded me of another favourite film of mine, the 'Welsh Trainspotting' "Twin Town".

Anyway, the story basically covers a week leading up to the Mischief Night, a big excuse for trick and treating , but with pyrotechnics and, oh, yes, a hot-air balloon!, which is at Halloween, though with school kids without coats, or blazers, points at filming being in the summer, but who cares? Kelli Hollis' character, whose partner/husband/boyfriend (lucky dip choice!) has done a runner (again) and she's now got her beady and lustful eye on Asian hunk Ramon Tikarum.

Mischief Night can be enjoyed when (I'm sure!) suitably imbibed yourself with friends as it can be on your own as that bright and breezy socio- comedy I mentioned. There's also enough going on, with both visual and written puns for a repeated viewing (or two!)

If it weren't for the drugs, guns, joy-riding and bad language, this movie could be a viewed and enjoyed by the whole family. As is I'd say, "your" family has to be pretty liberal. I'm not sure what market this movie is aimed at. Single Moms' Chick Flick..? That said, I enjoyed this movie. It wasn't a cinematic explosion, but simply an entertaining hour and a half. The acting was refreshing. The script was good - I thought realistic. And the plot, or plots was entertaining, albeit a little stuck in the genre of soaps.

I'm not big into racism, and this film touches on some pretty difficult issues, and handles them fine for my cinematic exploits. I'm not from any such neighbourhood and can't comment on any of the views with any clarity. So... From an outside view, I couldn't fault it...

6 out 10 just seems fair.... Definitey worth shooting....