Somers Town

"Somers Town" is one of the sweetest little films of any festival this year. Shane Meadows ("This Is England"), directing from a strikingly authentic Paul Fraser script, has crafted a winner with so much to like that it's hard to know where to begin.

The film takes its name from an area of inner London where the landscape is dominated by monstrous natural gas tanks and the construction of a station for a Channel Tunnel rail link. Marek (Piotr Jagiello) lives in the shadow of the humongous structure and spends his days shooting photographs of the area and trying to stay occupied as his father toils away at the construction site. Like many in the town, they are Polish immigrants who came looking for work and stayed. One day Tomo (Thomas Turgoose) appears out of nowhere, a boy Marek's age who is little more than a street urchin from the East Midlands to the locals. A fortuitous meeting between the two boys forges an unlikely friendship. Tomo is a tough punk (or thinks he is) and Marek is introspective and sensitive -- it's the basis for a character arc which is classic in the coming-of-age genre. We know where they're going -- how they get there is at the heart of "Somers Town." The outstanding supporting cast includes a sweetly understated Elisa Lasowski as Maria, the local girl who they both fall for, and the hilarious Perry Benson as Graham, who provides much of the film's comic relief (not that it needs any more than the boys already provide) as an eccentric neighbor who is literally indescribable. But it's the on screen chemistry between the boys which makes "Somers Town" the gem that it is. In a wise casting move, Turgoose and Jagiello, both 15, are the same age as their characters. In one scene where the two party a little too hearty, Meadows simply directed them to have fun and let the cameras roll. The result is one of the best scenes in any film I saw here this year.

"Somers Town" surprises at every turn. The film is shot completely in black and white save for the final sequence. It's a rarely used technique which, although unfamiliar at first, quickly falls away as the viewer focuses on the budding relationship between Tomo and Marek. After awhile we don't even notice the absence of color, for the story itself provides a rainbow of feelings. This device also makes lighting somewhat irrelevant, which allows a focus more on the characters rather than the look of the film. The soundtrack is simply a perfect match, with a playlist of tender acoustic songs that seems tailor-made for the narrative.

Everything about this film says "gentle and tender," from the friendship between the two boys -- what could almost be described as a platonic love story, to the longing the two have for Maria -- the object of affection who is always just out of reach, if only by age and maturity, and even to the father's tentative but loving relationship to his son -- in stark contrast to typical American films where the two would be constantly butting heads.

More than anything, though, there is no doubt that Turgoose and Jagiello carry this film on their young shoulders. Never have two young teens needed each other at this point in their lives as much as Tomo and Marek, and their relationship is so incredibly funny and touching that it had audiences in stitches and had me smiling from ear to ear from start to finish. It's no wonder that Turgoose and Jagiello each received the jury award for Best Actor here at the 2008 Tribeca Film Festival, where "Somers Town" had its North American Premiere. "Somers Town" is a charming and funny gem with a heart of gold.

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.

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

This story has Tomo, a young teen (apparently homeless) from Nottingham coming to London. He lands in the area of London known as Somers Town and his first encounter has him being robbed and beaten by three young toughs. Tomo encounters Marek, a young Polish immigrant, in a local café. The aggressive and outgoing Tomo and the shy, lonely Marek make for an improbable match, but they gradually become fast friends.

One of the delights of the film is in its capturing the close friendship between the two boys. Both boys are taken with a somewhat older French waitress in the café where they met (Tomo remarks several times how "fit" she is). Emotions run high among these three. Older viewers will likely be reminded of how intensely life is experienced when young.

At seventy minutes this has the structure of a short story. Things progress with sweetness and gentle humor until a powerfully dramatic scene between Marek and his father is inserted toward the end.

Most of the movie is filmed in black and white. Indeed the photographic contrast is dramatic, giving the impression that there are not many shades of gray to take the edge off the black and white.

The soundtrack contains original music by Gavin Clark that adds much to the experience. The song, "When We had Faces" enhances the charming final scenes, leaving you on a high as the film closes.