twobunnies

This film is an attempt to make a full-length action spy thriller on a truly microscopic budget. The miracle is therefore that it exists at all, and intense criticism of its technical merits is a bit beside the point. Very basic film and sound recording lead to rather static and stagey acting, but the unreal dramatics in very real settings is disturbing and quite effective. The story puts an unusual human perspective on an otherwise rather standard cold-war spy-craft plot. The general message that suppressed human fallibilities stuff up even the most important and deadly of government functions is well-demonstrated: this is a very British kind of story, and the absence of the comedy with which this sort of sorry tale is usually served up increases its impact.

Arron Blake's performance stands out, and although hard going in parts this film is a remarkable achievement.

This movie turned up in "films you might like" on my Amazon Prime, nestling amongst a selection of vintage romantic comedies and worthy costume dramas. After struggling with it for the first fifteen minutes or so (which I had to re-watch) I was hooked.

Young Henry's dad is pastor of a church. Mum and Dad organise a party for his son's 17th birthday, and invite his friends from school and from church, together with a collection of adults also from the church. It's a pool party - they have a great big swimming pool. So the scenario is set for a load of semi naked hormone-infested and mostly very attractive teenagers to frolic about whilst a collection judgemental older people alternately mutter disapprovingly and expose the more miserable aspects of their own lives.

I was brought up, and still live, in London and the southeast of England. The lifestyle, culture and behaviour of the community in this film is completely alien to me. But this is primarily a coming-out drama and the fundamental dilemmas and difficulties are universal - the religious background sharpens focus but it is not the primary point of the movie.

The acting is of a high standard and the direction very good. There is a sense of aching discomfort and tension maintained throughout, with much use of long closeups and pregnant silence. This is interspersed with crass and banal dialogue that constantly exposes the the thoughtlessness, self-preoccupation and suffering of almost every character. This works best when the viewer is left to draw conclusions for themselves - there are no neat endings or trite solutions to the multiple personal dramas, although Henry navigates his progress in a very endearing, understated way towards the next stage of his life.