overlookfm
sep 2006 se unió
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Clasificación de overlookfm
Coming across like a British social realism picture fused with the unflinching violence and unpredictable nature of a Gaspar Noé film, Cara was something of a surprise. As the feature debut of writer/director Hayden Hewitt, it wasn't surprising that it was good-after all, since becoming a filmmaker only three or four years ago, he had already churned out several mesmerising short films. His rapid ascent in such a short time has marked him as someone destined for big things. But Cara is something else entirely-it's a calling card from an artist who is carving a niche in the British film industry that is uniquely his own.
Lord, do we know that, as a country, we've become synonymous with gritty dramas that take a no-nonsense approach to the depiction of social dysfunction, whether at a state level or on a familial/individual level, as seen in Nil by Mouth or the films of directors such as Mike Leigh and Ken Loach. But Hewitt has melded this tradition with what can only be described as the sort of exploitation elements you'd expect to see in the work of "trash" (and I use that term affectionately) magnates such as Pete Walker.
Hewitt sets out his stall early, adopting a device used by John Carpenter in his sophomore feature, Assault on Precinct 13, in which a little girl is shot after questioning an ice cream man about some missing sauce. In the first ten minutes of Cara, one of the main characters flicks a lit cigarette into a pram after an altercation with the baby's mother. This sets the tone for a film in which anything can happen-and trust me when I say, it will.
To say any more about this film would be a complete disservice, but what I will say is that if you're triggered by violence, it's probably one to miss-there are scenes in this film that made me wince and turn away a few times. Cara is a harsh film, but it's also a very good one.
Lord, do we know that, as a country, we've become synonymous with gritty dramas that take a no-nonsense approach to the depiction of social dysfunction, whether at a state level or on a familial/individual level, as seen in Nil by Mouth or the films of directors such as Mike Leigh and Ken Loach. But Hewitt has melded this tradition with what can only be described as the sort of exploitation elements you'd expect to see in the work of "trash" (and I use that term affectionately) magnates such as Pete Walker.
Hewitt sets out his stall early, adopting a device used by John Carpenter in his sophomore feature, Assault on Precinct 13, in which a little girl is shot after questioning an ice cream man about some missing sauce. In the first ten minutes of Cara, one of the main characters flicks a lit cigarette into a pram after an altercation with the baby's mother. This sets the tone for a film in which anything can happen-and trust me when I say, it will.
To say any more about this film would be a complete disservice, but what I will say is that if you're triggered by violence, it's probably one to miss-there are scenes in this film that made me wince and turn away a few times. Cara is a harsh film, but it's also a very good one.
I was lucky enough to attend the first UK screening of Shane Meadows' latest offering, THIS IS ENGLAND, last Tuesday at the London Film Festival. Having been a fan of Meadows' work since seeing TWENTYFOURSEVEN in 1998, I have anticipated each of his new films with excitement and great interest. Meadows' films defy categorisation and always exceed expectation, as anyone who has seen A ROOM FOR ROMEO BRASS or DEAD MAN'S SHOES will attest. THIS IS ENGLAND had a lot to live up to
Set during the summer of 1983, THIS IS ENGLAND is the story of Shaun (Thomas Turgoose); a precocious twelve-year-oldcoming to terms with the death of his father. Shaun is soon inducted into a group of local skinheads; a fun loving bunch who spend days committing petty vandalism and listening to ska records. Although much younger than the other members of the group, Shaun endears himself upon them with his sheer determination and defiance, and is quickly embraced as their mascot. However, the frivolity and naivety comes to an abrupt conclusion when ex-member Combo (Steven Graham) is released from a spell in prison. Combo soon causes a rift within the group and becomes the catalyst for them becoming a militant, racist force.
Anyone familiar with Meadows' earlier work will notice many parallels between this and A ROOM FOR ROMEO BRASS; the film is told from a child's perspective and the corruption of youth/innocence is an underlining theme. Like ROMEO BRASS, THIS IS ENGLAND manages to balance the light-hearted and often hilarious, with menace and tension that's excruciating to endure. Many British films that attempt dramedy falter because one or the other/both is unconvincing, but Meadows manages to combine comedy and drama seamlessly; the laughs come thick and fact but the jolts come harder than a kick to the head.
Typically for a Meadows film, THIS IS ENGLAND is exceptionally well written with some infectious dialogue and fully-fleshed characters, though one of the film's stand-out attributes is that of Danny Cohen's cinematography. Being a film set during the 80s, its look plays a significant part in the audience buying into the film. Many 80s-set films have been betrayed by garish lighting and ultimately end up looking like contemporary people parading around in 20-year-old clothing. Cohen's photography really manages to encapsulate the bleak feeling that was evident of the time, and is both gritty and dour. THIS IS ENGLAND is a film without polished aesthetics and one that has the raw visual style that's not be seen since the films of Alan Clarke (SCUM, MADE IN Britain, THE FIRM).
In addition to the film's look, Meadow's has raided the vaults for a whole host of archive footage leading thirty-something viewers on a trip down memory lane. The credit sequence alone features footage from Roland Rat, the Falklands and Knight Rider; As a child of the 80s, I literally sat in the cinema beaming It's a great hook into a wonderful film.
As assured as Meadows' writing and direction is, the film benefits greatly from its ensemble cast. Predominantly made up of teenagers, the cast of THIS IS ENGLAND excel beyond belief, without one putting a foot wrong. A ROOM FOR ROMEO BRASS' Andrew Shim is superb as Milky, as is Stephen Graham as Combo - who gives a terrific and complex performance. However, THIS IS ENGLAND belongs to Thomas "Tommo" Tugoose for a débutant child actor he is astonishing and effortlessly conveys the array of mixed emotions the material requires.
In conclusion, THIS IS ENGLAND is essential viewing for anyone with even a passing interest in film. Once again Meadows has set a precedent for British filmmakers and has eclipsed many of his contemporaries. THIS IS ENGLAND may not make for comfortable viewing but it is cinema at its best.
Set during the summer of 1983, THIS IS ENGLAND is the story of Shaun (Thomas Turgoose); a precocious twelve-year-oldcoming to terms with the death of his father. Shaun is soon inducted into a group of local skinheads; a fun loving bunch who spend days committing petty vandalism and listening to ska records. Although much younger than the other members of the group, Shaun endears himself upon them with his sheer determination and defiance, and is quickly embraced as their mascot. However, the frivolity and naivety comes to an abrupt conclusion when ex-member Combo (Steven Graham) is released from a spell in prison. Combo soon causes a rift within the group and becomes the catalyst for them becoming a militant, racist force.
Anyone familiar with Meadows' earlier work will notice many parallels between this and A ROOM FOR ROMEO BRASS; the film is told from a child's perspective and the corruption of youth/innocence is an underlining theme. Like ROMEO BRASS, THIS IS ENGLAND manages to balance the light-hearted and often hilarious, with menace and tension that's excruciating to endure. Many British films that attempt dramedy falter because one or the other/both is unconvincing, but Meadows manages to combine comedy and drama seamlessly; the laughs come thick and fact but the jolts come harder than a kick to the head.
Typically for a Meadows film, THIS IS ENGLAND is exceptionally well written with some infectious dialogue and fully-fleshed characters, though one of the film's stand-out attributes is that of Danny Cohen's cinematography. Being a film set during the 80s, its look plays a significant part in the audience buying into the film. Many 80s-set films have been betrayed by garish lighting and ultimately end up looking like contemporary people parading around in 20-year-old clothing. Cohen's photography really manages to encapsulate the bleak feeling that was evident of the time, and is both gritty and dour. THIS IS ENGLAND is a film without polished aesthetics and one that has the raw visual style that's not be seen since the films of Alan Clarke (SCUM, MADE IN Britain, THE FIRM).
In addition to the film's look, Meadow's has raided the vaults for a whole host of archive footage leading thirty-something viewers on a trip down memory lane. The credit sequence alone features footage from Roland Rat, the Falklands and Knight Rider; As a child of the 80s, I literally sat in the cinema beaming It's a great hook into a wonderful film.
As assured as Meadows' writing and direction is, the film benefits greatly from its ensemble cast. Predominantly made up of teenagers, the cast of THIS IS ENGLAND excel beyond belief, without one putting a foot wrong. A ROOM FOR ROMEO BRASS' Andrew Shim is superb as Milky, as is Stephen Graham as Combo - who gives a terrific and complex performance. However, THIS IS ENGLAND belongs to Thomas "Tommo" Tugoose for a débutant child actor he is astonishing and effortlessly conveys the array of mixed emotions the material requires.
In conclusion, THIS IS ENGLAND is essential viewing for anyone with even a passing interest in film. Once again Meadows has set a precedent for British filmmakers and has eclipsed many of his contemporaries. THIS IS ENGLAND may not make for comfortable viewing but it is cinema at its best.