Yorkshire Killer 1974

The Red Riding films have been sitting recorded waiting for me to watch them for quite some time. I set the recorder at the time for them because of the praise they received and the number of well-known names in there, other than this I didn't know too much and didn't know the books they are based off. The plot sees a young journalist returning to northern England and picking up a story about a murdered girl who was found with swan wings sewn onto her back. The police seem to be content with the usual suspects but when he starts digging deeper he finds a world of police corruption and cronyisms, putting him in danger.

When I watched this film I tried to put the hype and critical acclaim out of my mind and just come to it as I found it. As such I was not overly impressed by it but did enjoy it for the grimness that it does well. The film does have an engaging sense of foreboding and toughness that suits the material and it delivers this aspect of it very well in terms of tone, locations, costumes and general feel. However, this is ultimately a story, not just atmosphere, and I was surprised that the film didn't deliver on this particularly well. I've never read the books but I do presume they are longer than this 90 minute film represents and I presume this because it seems like a lot is rammed in here and nothing really has much time to develop or grow before we're onto the next thing. This reduced the impact of the story for me because it did feel like I was being rushed through it rather than being allowed to move around within it. It isn't helped by it more or less going where you think it will go almost by virtue of how quickly it hands you everything, thus focusing on mind on certain characters and scenarios rather than allowing the bigger world to be a thing.

The cast do well even though so many of them seem to have a few minutes each. Garfield is solid in the lead even if he seems to spent a lot of the time just being beaten. Hall works well next to him but outside of these two the cast seem too deep in faces and not deep enough in screen time for them. So people like Marsan, Mercer, Bean, Mullan etc really don't feel like they are well used even if they are good in their moments. Everyone has a good accent but it is worth saying that to those not familiar with it, it may be difficult to always pick up what is being said – this is not just down to the thickness of the accents but the sound engineering here has lots of background noise and, for the sake of atmosphere I guess, seems to have lots of mumbling.

This first film has enough good about it for me to check out the second in the trilogy, but I hope it does better with the actual story telling part. In this case atmosphere and time/place was very well done but the story and characters felt rushed and the impact of the tale was lessened due to this, which is a shame.

The "Red Riding Trilogy" (based on the novels by David Peace), originally screened on British TV last year. The three films clock in at just short of five hours. I found out about this trilogy of films after reading a review in The New Yorker magazine, though I can't remember whether it was David Denby or Anthony Lane who wrote about "Red Riding Trilogy", but whoever it was, gave the films a very favourable review. So good, that I wanted to see the films for myself because it's not often that either David Denby or Anthony Lane who gave this film such fulsome praise. The first film in the trilogy deals with a series of child murders and one journalist's attempts to find out who is responsible for these atrocities. The second film is set against the backdrop of the efforts of the police to catch the notorious Yorkshire Ripper, while the final film revisits what happened in the first film. Woven into this apparently simple plot-line, is a back-story about corruption in the West Yorkshire police, and its ties to organized crime. Each film is labyrinthine in their complexities, and you have to pay close attention, otherwise what is revealed in the first film, won't make much sense in the second and third films. The acting is first class, though the direction in the second film is pedestrian compared to the other two films. My only gripe is the sound quality especially in the first film, as if the actors are talking with mouths stuffed with cotton wool. Otherwise, the "Red Riding Trilogy" is a gem, and deserves a viewing.

I was doubting between a 6 or 7, because it is a solid movie with pretty good acting. However, the complex story of corruption it tries to tell, is told a bit too disorderly to be easily followed at times.

Without spoilers: this movie has a grim atmosphere about conspiracy and corruption among people in a position of power. Andrew Garfield plays a reporter who tries to uncover some of the awefulness, but he has his own demons, which the movie leaves unexplored almost entirely. Why bring that up then? Same goes for some "love" scenes, which seemed forced/irrelevant to the plot, or at the very least redundant. Another let down was that everybody "bad" had zero redeeming qualities, making them kind of caricaturistic.

I think the movie was successful in creating a captivating vibe, but it had quite a few plotholes/unanswered questions which together with the chaotic disquisition failed to bring it to a good enough movie to want to recommend it to others unless they have nothing better to watch.

Don't let the 1974 fool you, this year merely indicates the time period in which this British crime drama is set. The first film of a trilogy, 1974 sets up the desolate Yorkshire town which has again been struck with the grizzly and brutal murder of a young girl. This makes her merely an entry in string of disappearances over the previous decade. Despite atmosphere thick enough to ski upon, this movie fails to offer much compelling and is a tough slog not only due to its grimy nature but also its convoluted narrative.

What begin with an investigation into a young girls disappearance, gives way to a murder, then to police corruption and bureaucratic cover-ups. Dropped squarely in the center is amateur journalist Eddie Dunford (Andre Garfield) whose combination of determination and coyness take him down a dark road. I will not even delve into the plot more than I have, as not only is it too complex to adequately lay out, but I am still trying to sort it all out myself.

While the performances are uniformly good, the characters are thoroughly unlikeable. Even our protagonist Eddie has a smarmy quality to him that makes it difficult for a real connection to be achieved. This is so with much of Red Riding: 1974, we are kept at arms length; never able to engage with any of the players nor the grief and depression the town is experiencing. Such is amplified further by the engrained ugliness at every corner which inhibits any discernible depth; everyone has demons, everything is wrong and nobody is happy. Thus, the instances of violence are muted by the grimness by which it is surrounded.

If you are really hankering for a dark tragic crime film starring Andrew Garfield, check out Boy-A; a supremely better and more resonant film. The highlight of the film for me was seeing Sean Bean again. His presence in films is an iota of what it should be and he gives one of the films best performances. Not having yet seen the following two instalments of this series I can not say with confidence this film will not be elevated when viewed in context. At this point, what I can say with confidence is Red Riding: 1974 was not an enjoyable experience. Perhaps, then, it was a success in its own right.

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I'll start by saying that I was expecting to like this before I watched it. Whether that had a bearing on my judgement, I can't really say.

'Nineteen Seventy-Four' has shades of 'Taxi Driver', the narrative framed not by the steam that rises from the streets of New York City but instead by the skies of Yorkshire. The comparison between the two movies really occurred to me most strongly at the end of the film and I think you'll see why.

The acting is spot on from everybody. I can't think of one performance that stands out for the wrong reasons. Andrew Garfield is excellent in the lead role and Sean Bean is on form.

The exploration of police corruption and the struggle for both revenge and justice resonate well beyond the ending of the film.

The cinematography is excellent and it is disappointing that films of this quality have to be shown on television because they won't find enough of an audience in the majority of British cinemas.