Somers Town

Shane Meadows' beautiful snapshot of life for two teenagers in North London, "Somers Town", is a million miles away from "This is England" in tone, but has no less class or brilliance about it. Filmed in wonderful black and white, this is a delightful, entertaining and involving piece about youth, culture and friendship.

The power of Meadows's film-making is in his characters. Something rings fundamentally true about the people that he brings to the screen, and the writing of Paul Fraser (a long time Meadows-collaborator) is a great help to this film. The dialogue is humorous, moving and insightful, which gets the audience utterly involved in this film. Added to this, the acting is wonderful. Thomas Turgoose, who was spectacular in "This is England", continues to be an impressive and interesting screen presence. He is ably supported, not just by Piotr Jagiello, who plays the Polish teenager Marek, but by the rest of the small, but perfectly formed, ensemble.

This film is not just an entertaining and moving piece, but is also a beautiful film with a dash of severity. There is a particularly emotive and thought-provoking scene where the immigrant father and son talk to each other. Britain's debates on immigration often ignore the individuals involved in the issues, and that scene cuts right to an unexplored area of the matter.

The beauty of the film is not just in its emotions and characters, but also in its photography. Monochrome is a form of cinematography which lends itself to beauty, but Meadows exploits this magnificently. There is a change to colour during the film which could have been crass but is in fact wonderful. The images are also accompanied by a beautiful series of songs which give the film real character. All of these elements come to fore in a number of dialogue-less sequences.

Meadows has created a lovely piece of cinema. Short though it is, that is part of its charm. It is not extraneous or self-indulgent. It is what it is: a simple joy to be delighted in by many.

The English press have perhaps been a bit too kind to this film because I came to it with lots of glowing and very positive reviews in my ears. This is understandable given the way it was made and, more importantly, that it was made by British director Shane Meadows, in yet another different entry in his resume. Following the success of This is England, Meadows has come south for a small story about a minor friendship between two young men who finds themselves in need of one another to some extent. Tomo has left Nottingham and found himself with nowhere to go in London and is robbed his first night in town. Marek is an immigrant who lives in a basic flat with his father but spends the majority of his time alone. The two meet in a café where Marek is fixated on the pretty French waitress and, after initial conflict, a uneasy friendship develops.

The film is comparatively quite short but accordingly it is also a very slight affair, with a very basic plot in place that is secondary to the general air of the film and the exploration of the world they find themselves in. I can understand why this would put many off because for the majority of the film (if not all the film) it can feel like "nothing" is happening – mainly because it isn't. The film relies a lot on the feel of it and our interest in the two boys and I think it almost relies on this too much without giving us a lot of reason to care narrative-wise. That said though, the easy chemistry that develops between the two boys is quite affecting and their relative naivety and desire for a woman out of their reach does ring true as part of a growing up process. The fact that the bigger picture of these two lives is largely left in the background is a bit of a problem but then it is hard to see how all that could have been brought in with the budget and time constraints.

Meadows directs the film well though and should be commended for staying in smaller British films that he wants to make. The hand-held style here takes a minute to get used to but with his camera and his script he is kind to the characters – not blind to who they are but not judgemental visually or thematically. He gets very good performances as well. Turgoose doesn't quite impress as he did when he had stronger material but his is still an affecting turn. Better though is Jagiello, who is wonderfully shy and interesting as a delivered character. Lasowski may have a tiny part but her light, Gaelic sexiness is perfect for the type of character she has to play within the film. Czop is convincing and I also enjoyed Benson's small-time wheeler/dealer.

Overall Somers Town is not that great a film and it will not show up amongst the best works from Meadows but it is not without its appeal. The plot is simple and doesn't go anywhere or real import but the film works in the realism and warmth of the two main characters and their small interactions. Not as brilliant as some would have you believe but a perfectly fine little film with a simple agenda.

Short, compact, yet rich with satisfaction: this film encompassing some beautiful moments to take with you and treasure. Shot in black & white, this film scores for being simple, yet moving, deep and unique.

In a world of blockbusters and 2 hour feature films, this short, simple indie film came as a welcome relief. It was 'bite-sized' if you can attribute that phrase. In other words digestible: it had a pleasantly warming message of friendship and the beauty of human emotions. Therefore perfect to consume on a quiet sunny afternoon.

By not being too long, this film does not loose out in being concise, it feels like every short scene is of real value to the story. This creates a pleasant pace and means the audience is kept enticed and captivated. Interwoven in this storyline and despite its brief nature, Meadows is still able to weave in thought-provoking shots and sequences to really underline the nature of social study.

Overall it is indeed a little gem, not to be left to gather dust on the shelf. Its one of those movies you could watch on a typical afternoon in the house to give you a satisfying feeling of wholeness.

Very impressive: 83/100

Shane Meadows' new release, Somers Town, has received mixed reviews in the British press. The film has received criticism for its source of funding, having been developed with the funding of Eurostar from a promotional short to a fully-fledged feature. But beyond this, Somers Town has been criticised for being short, inconclusive and too whimsical in handling its grim subject matter. I would contend that although the style of Meadows sits rather awkwardly with the involvement of Eurostar, the film itself is a triumph: funny, intelligent and poignant.

Set in an area of inner city London near the construction site of the new Eurostar train terminal, the film follows the fortunes of two young boys from troubled backgrounds. Tomo, played by Thomas Thurgoose, arrives in London on a train from Nottingham, having run away from home. He never lets on about where he came from, and when asked he says that there is 'nothing' there. When Tomo reaches London he is soon set upon by a gang of youths. The camera moves uncomfortably close to Tomo and the bullying youths and the subsequent chase and beating set a dark undertone for the rest of the film. Thurgoose is superb in this lead role, cheeky, rude even, but charming and disarming – a far cry from the youths who attack him in the film's opening.

Tomo crosses paths with Marek (played by Piotr Jagiello), a young Polish immigrant living with his father, Marius. Marius is working long hours on the building site of the future Eurostar terminal and Marek is listless in his absence, roving the streets of London with his camera until he bumps into the disruptive Tomo. The two boys, though from very different backgrounds, are essentially rootless, and soon become friends. Together they vie for the attention of Maria, the beautiful waitress working in a local café, leading to some of the happiest scenes in the film. They also help out budding salesman Graham, a slightly absurd and very amusing Del Boy character.

The dialogue amongst the characters in Somers Town is excellent, often hilarious but at times sad and moving. Thurgoose delivers his lines with a sharp wit and the film is at its funniest when the two boys compete for the affection of Maria. The darker scenes in the film, including the attack on Tomo and the falling-out between Marek and Marius, are believably portrayed and equally engaging. Where the dialogue flags is where the new Eurostar terminal – and the accompanying ideas of travel and escape – work their way into the story. It is difficult to disregard the source of funding for the film and it is at these points in the film that there is a vague whiff of product placement.

Nevertheless, it seems that Shane Meadows has used the creative licence afforded to him to re-work the original short film idea into a distinctive work. Although his film runs to only 75 minutes it does not feel insubstantial or inconclusive – quite the contrary. The wistful, poignant ending throws light on the preceding film and affirms the themes of rootlessness, despair and dreams of escape.

With the wealth of Hollywood blockbusters and fine foreign-language films being produced this year it has been easy to overlook the films emerging closer to home, but this superb film has made me sit up and look for more British cinema.

Others have written that this film is a cute coming-of-age platonic love story. Well, that's one way of viewing the film. Another more direct reading is to look at the relationships between the white English and the immigrants (Polish and French). Both sets of people are portrayed somewhat stereotypically. The white English are Del Boy wideboys, lazy, rude, chavlike, selfish, self-centred, always on the scrounge, moaning, violent, loutish and drunk. The immigrants are decent hard-working people with a moral compass, who know what's right and what's wrong. Despite these stereotypical characters, this is an amazingly powerful film.

I'm a white middle-class English man and I've spent a lot of my life living in inner cities (London, Manchester, Birmingham, Wolverhampton and Milton Keynes). You know what? - these stereotypes rang (frighteningly) true to me. The film captured many of my frustrations with the way that the English national culture has changed; less tolerant, less considerate, less welcoming, more something-for-nothing. This is England today. The film made me feel ashamed of what we have become.

I left the cinema saddened; thinking that England could once again become a great country to live in if only we could remove all the bloody English.