Somers Town

Though clearly a bit of a "quickie" project made in the immediate afterglow of This Is England - and featuring that film's young star Thomas Turgoose in one of the two main roles - the DV-shot, (mainly) black-and-white, minimal-budgeted 'Somers Town' is by no means a "minor" Meadows. Indeed, in terms of tonal consistency, concision and cumulative emotional wallop, it's in several ways a more satisfying enterprise than its bigger, BAFTA-winning "brother". Indeed (again), there have been very few more moving films from any director since Meadows' own Dead Man's Shoes (2004) - though in this instance it's very much a case of joyful rather than sorrowful tears. This is a delightful, quietly topical, deceptively slight miniature about teenage friendship and first love - scarcely new subjects for cinema, but handled with sufficient sensitivity, humour and spirit to emphatically justify such a choice of material. Meadows and his scriptwriter Paul Fraser, meanwhile, deserve particular credit for so deftly maintaining such a delicate balance between the bouncily engaging story and its sad, even tragic subtexts.

After seeing Shane Meadows brilliant,but unsettling previous film, 'This Is England',I wondered how is he going to top himself with this one? The answer comes in the form of 'Somers Town',a gritty,grainy black & white film (with colour inserts) with a real "do it yourself" (or,D.I.Y.)look to it, that wears it's heart on it's sleeve. The story concerns two teen aged boys,Tomo (played by Thomas Turgoose,from 'This Is England'),a homeless lad that managed to escape a harrowing home life in the north-Midlands to run wild in the streets of London, and Marek (played by newcomer Piotr Jagiello),a young lad, who is living with his divorced father,Mariusz (played by Ireneusz Czap),both immigrants from Poland living in London. Tomo & Marek meet under some dubious circumstances,with Marek not liking Tomo much at first,but the two forge an uneasy friendship,fall in love with the same woman (a French waitress,Maria,played by Elisa Lasowski),and generally become B.F.F's (best friends forever). Paul Fraser writes a heartfelt screenplay about two opposites that overcome odds to find friendship (Tomo is easily the most unlikely to be able to even have a friend,due to his scrappy nature,while Marek is lonely,due to his father's hard drinking with his co-workers). Natasha Braier's kitchen sink,black & white/colour photography (shot in monochrome HD)gives this film it's character look,and the crisp editing really works to give this film the kudos it deserves. Not rated,but contains some rude language,sexual content & a rather nasty gang beating inflicted on the young Tomo by a street gang

The English press have perhaps been a bit too kind to this film because I came to it with lots of glowing and very positive reviews in my ears. This is understandable given the way it was made and, more importantly, that it was made by British director Shane Meadows, in yet another different entry in his resume. Following the success of This is England, Meadows has come south for a small story about a minor friendship between two young men who finds themselves in need of one another to some extent. Tomo has left Nottingham and found himself with nowhere to go in London and is robbed his first night in town. Marek is an immigrant who lives in a basic flat with his father but spends the majority of his time alone. The two meet in a café where Marek is fixated on the pretty French waitress and, after initial conflict, a uneasy friendship develops.

The film is comparatively quite short but accordingly it is also a very slight affair, with a very basic plot in place that is secondary to the general air of the film and the exploration of the world they find themselves in. I can understand why this would put many off because for the majority of the film (if not all the film) it can feel like "nothing" is happening – mainly because it isn't. The film relies a lot on the feel of it and our interest in the two boys and I think it almost relies on this too much without giving us a lot of reason to care narrative-wise. That said though, the easy chemistry that develops between the two boys is quite affecting and their relative naivety and desire for a woman out of their reach does ring true as part of a growing up process. The fact that the bigger picture of these two lives is largely left in the background is a bit of a problem but then it is hard to see how all that could have been brought in with the budget and time constraints.

Meadows directs the film well though and should be commended for staying in smaller British films that he wants to make. The hand-held style here takes a minute to get used to but with his camera and his script he is kind to the characters – not blind to who they are but not judgemental visually or thematically. He gets very good performances as well. Turgoose doesn't quite impress as he did when he had stronger material but his is still an affecting turn. Better though is Jagiello, who is wonderfully shy and interesting as a delivered character. Lasowski may have a tiny part but her light, Gaelic sexiness is perfect for the type of character she has to play within the film. Czop is convincing and I also enjoyed Benson's small-time wheeler/dealer.

Overall Somers Town is not that great a film and it will not show up amongst the best works from Meadows but it is not without its appeal. The plot is simple and doesn't go anywhere or real import but the film works in the realism and warmth of the two main characters and their small interactions. Not as brilliant as some would have you believe but a perfectly fine little film with a simple agenda.

Shane Meadows' new release, Somers Town, has received mixed reviews in the British press. The film has received criticism for its source of funding, having been developed with the funding of Eurostar from a promotional short to a fully-fledged feature. But beyond this, Somers Town has been criticised for being short, inconclusive and too whimsical in handling its grim subject matter. I would contend that although the style of Meadows sits rather awkwardly with the involvement of Eurostar, the film itself is a triumph: funny, intelligent and poignant.

Set in an area of inner city London near the construction site of the new Eurostar train terminal, the film follows the fortunes of two young boys from troubled backgrounds. Tomo, played by Thomas Thurgoose, arrives in London on a train from Nottingham, having run away from home. He never lets on about where he came from, and when asked he says that there is 'nothing' there. When Tomo reaches London he is soon set upon by a gang of youths. The camera moves uncomfortably close to Tomo and the bullying youths and the subsequent chase and beating set a dark undertone for the rest of the film. Thurgoose is superb in this lead role, cheeky, rude even, but charming and disarming – a far cry from the youths who attack him in the film's opening.

Tomo crosses paths with Marek (played by Piotr Jagiello), a young Polish immigrant living with his father, Marius. Marius is working long hours on the building site of the future Eurostar terminal and Marek is listless in his absence, roving the streets of London with his camera until he bumps into the disruptive Tomo. The two boys, though from very different backgrounds, are essentially rootless, and soon become friends. Together they vie for the attention of Maria, the beautiful waitress working in a local café, leading to some of the happiest scenes in the film. They also help out budding salesman Graham, a slightly absurd and very amusing Del Boy character.

The dialogue amongst the characters in Somers Town is excellent, often hilarious but at times sad and moving. Thurgoose delivers his lines with a sharp wit and the film is at its funniest when the two boys compete for the affection of Maria. The darker scenes in the film, including the attack on Tomo and the falling-out between Marek and Marius, are believably portrayed and equally engaging. Where the dialogue flags is where the new Eurostar terminal – and the accompanying ideas of travel and escape – work their way into the story. It is difficult to disregard the source of funding for the film and it is at these points in the film that there is a vague whiff of product placement.

Nevertheless, it seems that Shane Meadows has used the creative licence afforded to him to re-work the original short film idea into a distinctive work. Although his film runs to only 75 minutes it does not feel insubstantial or inconclusive – quite the contrary. The wistful, poignant ending throws light on the preceding film and affirms the themes of rootlessness, despair and dreams of escape.

With the wealth of Hollywood blockbusters and fine foreign-language films being produced this year it has been easy to overlook the films emerging closer to home, but this superb film has made me sit up and look for more British cinema.

Short, compact, yet rich with satisfaction: this film encompassing some beautiful moments to take with you and treasure. Shot in black & white, this film scores for being simple, yet moving, deep and unique.

In a world of blockbusters and 2 hour feature films, this short, simple indie film came as a welcome relief. It was 'bite-sized' if you can attribute that phrase. In other words digestible: it had a pleasantly warming message of friendship and the beauty of human emotions. Therefore perfect to consume on a quiet sunny afternoon.

By not being too long, this film does not loose out in being concise, it feels like every short scene is of real value to the story. This creates a pleasant pace and means the audience is kept enticed and captivated. Interwoven in this storyline and despite its brief nature, Meadows is still able to weave in thought-provoking shots and sequences to really underline the nature of social study.

Overall it is indeed a little gem, not to be left to gather dust on the shelf. Its one of those movies you could watch on a typical afternoon in the house to give you a satisfying feeling of wholeness.

Very impressive: 83/100