Always Crashing in the Same Car

An impecable film. Scene by scene, from the tension to the panic and the great twist. A good opportunity to discover Robert E. Grant huge artistic potential. And to understand, again, the levels of power build. Fascinating, dark and powerfull. A lesson of moral. And a splendid way to define a terrible clash and its result.

Two late 30's/early 40's professional men - something like high flying City types who we gather have got a considerable history together, perhaps murky, that both binds them but in particular puts the more personable but nervier one of the two under the control of the other, Bill (Paul McGann). This he struggles to escape but some kind of sense of obligation mixed with fear fights with his really desperate efforts to escape the other's control. What's in it for the cooler of the two to exercise power over the other? Pleasure it seems even it suggests, sexual pleasure. But then, in the unkindest turn of fate, caused by his extreme desperation, the nervier of the two by accident creates a situation which suddenly makes him now entirely beholden to the other. His reputation, his marriage, his survival have suddenly become the gift - and we can guess perhaps the plaything of the other. Does this all really matter? It does when we learn that the nervier one is....... But that would be telling!

How was his tormentor able to phone him on THAT phone? Is it all a dream or rather repeating nightmare? Where else would someone be "Always crashing in the same car".

This could, if it were possible to sustain the intensity of the situation, the writing and the acting have been a really remarkable feature film. As it is as a 12 minute short it is intriguing and holds our attention. Shame that it is only a short.

A few might wished to be warned that there is very bad (but entirely naturally occurring) language in the film which wasn't bleeped on the early evening TCM showing.

James Booth is pushing for a decision that he believes would realise millions of revenue they are currently missing. It is late at night and the discussions have gone on too long. He is confronted by a calm and confident Bill Mackinnon, a man with whom he has a history. Booth loses it with his confrontation and storms out of the meeting, so angry that he dismisses his driver and aggressively takes to the roads himself. With the anger and resentment still fresh, something happens that affect the relationship of the two men forever.

Much was made of this short film mainly because it achieved the coup of putting the two stars of Withnail & I back onto the screen together again. For whatever reason Withnail had been their only pairing so far and I think that director Wellaway was overjoyed and surprised to get them both involved. Beyond this hook though, what is there to get excited about? Well, the film itself is a simple tale that starts once Booth has hit a homeless woman and ends up forced to turn to Mackinnon for help in clearing it up and protecting his high powered job. The point of the film comes at the end when the nature of Booth's job is revealed and the closing caption poses a sobering and depressing question. This is the point of the film and it does rather hit it then get out quickly, which made me feel like the point of the film hadn't had much time spent on it while the relationship between the two men had seemed to be the focal point.

This was a minor issue for me comparatively though because up till this point I had been held by the story of the two men. This part of the short film is delivered professionally and with a really enjoyable tension in the air. The two men are in separate places for the film (apart from the meeting at the start) but you can taste the power struggle that occurs between them. It holds more context and meaning once the reveal has occurred but regardless it is still very well done. Wellaway delivers his own script with an assured hand and the film looks as good as it feels – with power and desire for power seeping out of many scenes.

It is not a perfect film in terms of narrative but otherwise it is very well done and engaged me throughout. The reveal at the end did feel all a bit too sudden but it strengthened what had gone before, making the film better as a result, even if it affected what I thought the focus was going to be.

Really enjoyed this film. I loved the look/ feel of it and the dark, melancholy music. Really great to see London at night and would be interested to know which buildings it was shot at as they looked wonderful. Really good performances by both Richard E Grant and Paul M, both two really wonderful actors. Back together again for the first time since Withnail I believe. So amazing it's been so long since they've been together. I wonder whether how the Director managed to get them both on board. I would watch out for Duncan Wellaway. He's got serious talent as Writer and Director. Beautiful cinematography as well. Dark in places but seriously worth the watch.

'Always Crashing in the Same Car' is an intense short film, featuring, Richard E. Grant and Paul McGann. (The two actors re-teaming up for the first time since the cult classic 'Withnail & I' that helped each of them get their breaks in the business.) Written and directed by Duncan Wellaway. Produced by Zoe Ball.

At just under 12 minutes in length, 'Always Crashing in the Same Car' packs in quite a lot.

Before seeing this short film, I felt Richard E Grant was a somewhat underrated actor before seeing this short film. Now I am sure he is seriously underrated! Grant delivers a brilliant performance here!

I'm not very familiar with much of McGann's work, but he is good in this.

There is an interesting twist, of sorts, once you've seen the film in full. And it makes you wonder, but I won't say anymore, as that would give it away.

Definitely worth watching.