Sweet Sixteen

It doesn't get any more nakedly gritty than this. This is a movie for

anyone who thinks that kids who grow up to be drug addicts and

drug users have only themselves to blame. What's particularly

disturbing is how the biggest antagonists for Liam, and his friend

Pinball are not people their own age, but rather adults. Some

scenes are very unnerving and hard to watch simply because the

hazing and degradation that the fifteen-year-old characters endure

is at the hands of people who behave like insecure playground

bullies, but are members of a powerful organized crime force.

Even though I'm pretty close to the age of the main character, I can

barely imagine what the nightmarish experiences he endures

must be like.

The movie is emotionally devastating nearly all the way though. It's

moments of levity are welcome, but few. There's points where it

seems as though everything will turn out alright, but then

something else happens that throws everything off-course. For a

relaxing and enjoyable time, this is not a movie to see. But if you're

looking for something that will move you, shock you and really

make you think (and appreciate your own situation) than Sweet

Sixteen is the one too see.

10/10

As someone who comes from Greenock originally, my first draw to this movie was curiosity. Having said that, I fell completely for the story of Liam. His character, played by Martin Compston, could be one of many lads that I grew up with. The need to be 'one of the big boys' an all prevalent force in this deprived, former shipbuilding town; even if that need is self destructive. The performances are stellar throughout, only the mother's character is weak. I am unsure if this is deliberate, or bad acting. Perhaps the film could have explored the lack of employment and the sectarian divide more, however it does tackle the drugs issue very well indeed. The other thing that may put people off is the language. There is nothing unusual about the frequency or the strength of it for Grenockians. But it is more usual for a filmmaker to give an essence rather than soak the audience in every single word.

The kind of film I usually intend to see but don't end up seeing. In this case I did see it and was handsomely rewarded. I expected it to be a little on the depressing side but found it strangely uplifting. Perhaps because you realise that you don't have it so bad after all. Perhaps because it was extremely tight - with no needless scenes. I half expected the protag's relationship with the girl to result in a teenage sex scene. But it didn't and there's no way it would have fitted in with the film's race towards it's inevitable conclusion. Inevitable but not exactly predictable either. Stunning.

I saw this film at the 2002 Toronto International Film Festival. A completely charming mix of hope and despair set in Greenock, a troubled suburb of Glasgow. Fifteen-year old Liam spends his time trying to scrounge enough money to buy a caravan (trailer) for his mom and him to live in when she's released from prison. He needs money fast, and decides to cut in on his mom's boyfriend's heroin trade. Of course, he's soon in way over his head. Among the rest of the non-professional cast, Martin Compston's performance floored me. He captures that period between childhood and adulthood with just the right mix of emotions. He was sitting in the seat right behind me and when the film was over, I turned to him, speechless, and just shook his hand.

Liam is a teenager surrounded by crime and poverty all around him. His step-father and grandfather having him smuggling drugs in to his mother's prison for her to sell on, while his activities with friend pinball can only politely be described as "anti-social". With his mother due to be released in only a few months, Liam is determined to get her a new start along with him, his sister and her young son. However his opportunities for getting money to set them up is limited and he steals drugs from his step-father's stash and tries to deal them off as quick as possible to make the money he needs.

At times watching a Ken Loach film is a bit like being having your face pushing down into something unpleasant for two hours; occasionally you get to come up and take a breath of fresh air but you are quickly pushed right back down again soon enough. So it is with Sweet Sixteen, which sets us down in a Scottish world of poverty and crime where "opportunity" is having a good supply and a good spot to sell, while being seen as having "potential" means that you can sell without using the stash yourself. Typically for those trapped within this sort of world, the goal is to get out of the situation but using the situation to do it but, unlike Jay Z, the story rarely sees the protagonists living to rich old lives married to the sexiest pop diva around.

In Liam's story his hope is not to become rich but just to get out of the area and hopefully get a normal life with his mother. The entrapping nature of his world is seen in the need to get in deeper in order to get out and so it goes. The gritty, depressing locations and the frequent, strong language are only cosmetic things that suggest the problem because really the grittiness is all in the characters and their situations. Laverty's script brings these out well without ever making it come over a preaching or hand-wringing, instead he just presents it for what it is, which is far from cheerful. It is depressing watching but yet quite compelling and convincing as it paints a world where "bettering oneself" is nothing more than liberal wishful thinking. Although tit isn't fair to criticise this story for being unrelentingly bleak, it is hard to watch it and, once seen, I cannot imagine why anyone would wish to rewatch it again even within the medium term.

The cast work well with the script though. Compston is convincingly ratty and very much the type of kid that most of us would avoid eye-contact with; however he manages to find the person in there early on, so that he can then do a good job of losing that same person as it goes on. Ruane has a simpler role but works OK it in, likewise Fulton, Abercromby and others all turn in natural performances. Credit to Loach again because he has drawn out convincing performances despite working with a mostly young cast.

There is no getting away from the fact that this is a depressing and bleak portrayal of life in poverty but, although not one you'll watch over and over again, it is an impressive and engaging film.