Harry Brown

I saw this last night and found it a stirring experience. I believe it although aware it was a movie. I'm close to 70 years old and had to take this on board as such. I believe such areas exist and I find it frightening bordering to paranoia. I often hate undue violence and extreme language in cinema, Yet here I did not mind it because I believed this was real. I did not mention anger above, but it certainly was part of my emotion during viewing anger but also hopelessness and helplessness. That right, not everyone is an ex marine or has the character to go through H.B's motion, but we're all exposed to home violent home invasion or other violent event. Perhaps the chance of this happening may equate to winning the lottery, but the media and the 7th art have a filled day with it. Yet it is real and it's a hard task to know if one should bury one's head in the sand and pretend this does not exist or to think one can look after one's self and be able to stand the heat where ever it is. Just as to evaluate if this side of society should be portrayed with positive result or the reverse. I think thugs will always see themselves as heroes in such movies even if they end up with the bad result. As for others they may want the vigilante side of it with possibly dire consequence. Death Wish (I have not seen, and G.Torrino, I have) are mentioned and compared with in many reviews, yes G T did come to my mind too, although for me it was more entertaining than H. B. as I did not feel it to be continuously real. But here I became part of the experience and forgot I was watching a movie. It is also described as being English portrayal. I don't know if this was intended but I certainly don't believe this scene is exclusively English. I'd be surprised if it's not a western world reality and possibly a wide world situation in large urban population, in other words "a jungle rule world" Law and order are becoming increasingly more complex, with so called human right rules, so police efficiency is also increasingly more challenging as the whole scenario is becoming a game where one competitor has to play by the rule and the other just has to win. And victim relatives and Friends are also at odds with perpetrators relatives and friends. I only read, perhaps a dozen of reviews here about Harry Brown and could see it did impact most reviewers. I do agree it is not a perfect movie, with a perfect balance, but I think it perfectly portrays some sad imperfection of our society. It was so good to see Michael Cain acting once more, as for those young people... this was a piece of work too, I hope they, and we always remember it was acting! If you feel like thought provoking entertainment go for it.

I recently reacquainted myself with Harry Brown which I hadn't seen for 7 or 8 years, to find that the past decade has been kind to it. It seems even better now, than when I first saw it and thought it was pretty good then. Harry Brown represents a fine debut feature film from director Daniel Barber and it is surprising to find he has only directed one other production since.

The story follows Harry Brown, a widowed, Royal Marines veteran who had served and seen plenty of action in Northern Ireland, living on a London housing estate plagued by youth crime. After a violent gang murders his friend, Harry decides to take justice into his own hands.

The story outwardly would seem to follow any number of revenge thriller templates, perhaps most obviously Death Wish. But Harry Brown is one of the most grounded depictions of conflicted vigilantism that I've seen. The set-ups are realistic and the outcomes believable, though undoubtedly exaggerated at times for dramatic emphasis. And make no mistake, this is a suspenseful, dark, but thrilling film, that carries both an emotional and physical punch.

In the title role Sir Michael Caine is sublime and completely in his element as the aged ex-warrior who is seemingly forced into actions that he thought he'd probably left behind decades previous. Imagine a rehabilitated, very senior, Jack Carter, who'd survived the events we saw in Get Carter. That sums up our Harry, who crosses paths with Set. Insp. Alice Frampton, who oozes genuine sympathy and condolences for his losses, but later suspects him of taking the law literally into his own hands. Emily Mortimer is excellent, as the talented detective, genuinely trying to make a difference in some of the worst of London's slum areas. One of the great strengths of the film are the dual storylines of both the protagonist and the police officer who feels a need to keep looking over his shoulder. There are also great turns from Game of Thrones alumni, Liam Cunningham, Iain Glen and David Bradley. Mention must also be made of Ben Drew, better known apparently as a rap singer called Plan B. He manages to personify an inherited evil in his role as gang leader Noel Winters.

Despite not really being an action movie, Harry Brown does feature a couple of quite electrifying set pieces; one involving a visit to a sordid drug den and another being the climactic aftermath to a riot in the housing estate central to the story. As mentioned above, there have been other films like this before, but none quite as believable. Daniel Barber has created a debut film that is maybe not for everyone, but is gripping from start to finish.

Watched this at a London preview screening

This is an enjoyable, and often tense vigilante film. But don't look for a radical plot line or unpredictable twists because this is simply a straight forward and predictable Death Wish style vigilante story. I'll give absolutely no credit to the screenplay writer for that.

But full marks to the director for turning up the high tensions to make this still an exciting film. Having lived in a council estate myself, I know how frightening some youngsters are and can be more terrifying than the recent flurry of zombie films.

However, this is Michael Caine's show and is a fine addition to the recent surge of old tough guys fighting back movies such as Gran Torino. Caine was brilliant as usual. He makes the most of a pitifully typical script. That is of a widower seeking violent vengeance on the youths who killed his friend. He played it subtle and his vigilante transition was done just right. He isn't turned into some unrealistic slick killing machine or a Rambo. He has typical elderly obstacles such as breathing problems, slow reflexes and old bones but some of his military skills give him a chance. There is a also a sub plot involving a female detective on his trail but it so underwritten, I just didn't care.

The actors playing the youths were very very convincing and help to root for our pensioner hero even more. So it is satisfying to see our legendary cockney actor clean up some really nasty bad guys.

The pre main-credit sequence, shot to resemble mobile-phone footage, had the desired effect: the sense of shock from the capacity audience was palpable. The film then slows down to show the reality of Harry Brown's life as a pensioner on a South London high-rise estate . Showing his routine of walking to the hospital to visit his very ill wife, having to walk a long way round to avoid confrontation with an unseen group of youths who use an underpass as their base and his meetings with his old friend and chess partner Lenny in the estate pub. There aren't many other people walking about the estate, even in daylight, out of fear of the gun-carrying teenage gangs.

Michael Caine's performance as Harry Brown is wonderful. His timing is spot-on. Credit to director Daniel Barber for allowing him space to breathe and not be hurried. In fact the overall pacing is excellent. There is good use of the soundtrack with the lack of intrusive music adding to the reality feel of the film. The night scenes are beautifully lit as well with a good balance between just enough to see what's going on and making the lighting realistic: the night scene in the pub with the lights out, for instance.

This film has been compared to 'Death Wish' and 'Gran Torino', but those films haven't got this film's bleak, realistic look at how life is in these areas. There always remains a sense of watching a film, of entertainment, of it being 'Hollywood'. This is a lot more down to earth. This film has more in common with Mike Leigh's TV drama 'Meantime' and with 'Gomorra'.

This isn't an easy 'first-date' film but it is a superior Brit film, one of the best for many years. I'm glad to see that it has got some marketing push behind it and has generated column inches talking about the subject of these 'no-go' areas and society in general.

Shocking and brilliant.

Harry Brown is a pensioner, and former Marine, living in a very run-down apartment complex (or is it flat) in the urban quarter of London. It's a crappy place to be; kids ling their drugs and guns, and beat up those who happen to venture just a little far out into the path. One of those is Harry's friend, Leonard Atwell, who tries to defend himself against the scum on the streets and winds up stabbed with his own knife. Brown is distraught over this (already he's been all alone since his wife just died and a daughter died many years before, perhaps during childbirth or as a child), and knows the cops won't do much about it despite doing some investigations. So, Brown takes his skills as a former Marine, before facing off against the Northern Irish years before, and uses it to exact payback.

Immediately moviegoers will flash to Gran Torino, as a story of a lonely, grumpy old man mixing it up with gang-bangers in a part of town he should have moved out of. But it actually owes more to Taxi Driver in some part- an ex-Marine wiping "the scum off the streets"- and of course Charles Bronson in Death Wish. But as Michael Caine points out in interviews, there was a certain underlying joy Bronson had with his character of Paul Kersey in the Death Wish movies, even in the first one which was most gritty. This film, about the horror of gang violence and drugs and prostitution as an everyday occurrence, really hits the spot far better than the shots of gang-bangers in Eastwood's film. In fact, I would go as far as to say Harry Brown trumps Gran Torino in the department of being about "something" (Torino about racism, Brown about vigilantism).

And at the center of a film directed with an artful, patient eye by newcomer Daniel Barber, and written with wisdom and tough attitude when it needs to be by Gary Young, is Michael Caine's performance. He's so good in a film like this because we believe this is Harry Brown, or what he might be like, and we can see ourselves in a part of Brown due to Caine's sympathy (or even empathy) with the character. This is a man of reserve, but also resolve, and when he takes to the streets it's because it's really a last resort, a kind of fight for survival as well as revenge, and Caine doesn't hold back when Brown needs to shed some tears, or to have that fierceness in his eyes against these young punks. One such scene, which I'll not soon forget, is after he plugs a bullet into the gut of a junkie dumbass who tries to pull a gun on Brown as he's purchasing a few weapons, and tells a story about a fellow officer he was fighting alongside who had to die in the trenches because of a lack of medical care.

It's one of the best scenes I've ever seen with Caine in it, and overall the film provides him the opportunity for another piece of superb work. Less remarkable, though still decent, is Emily Mortimer, who provides some sensitivity but also is a little soft in a way for the character of a no-nonsense detective hot on the heels of the Atwell/young-punks case (in some scenes, frankly, I just didn't buy her as a detective). But this is so small a flaw that it's hard to judge the film against it. Harry Brown takes its subject matter by the throat, treats it cinematically with care, and when it's violent you get shaken up and when Brown is in the shadows one suddenly wonders why Caine didn't play Batman in Nolan's movies. A serious near-classic on street violence and revenge. 9.5/10