Lawless Heart

This is the kind of British film that they no longer make - a film that takes its time to reveal very real and complex characters and emotions. It is impossible to watch the film and not see aspects of your own life and relationships refracted through its characters. It's a film that leaves you feeling rewarded, stimulated and ultimately happy. British cinema deservedly has a poor reputation these days and the Film Council seems hell bent on funding films that it believes are going to be instant and obvious hits, rather than in investing in quality writing. Lawless Heart is where the future lies - a low budget film with big ideas.

After the death by drowning of a small time homosexual restaurateur by the name of Stuart (David Coffey), three sets of lives are changed and altered: not only by the death itself, but by each others reactions and counter-reactions to the tragedy.

Anyone who has put on their "reading glasses" and watched any worthwhile number of European cinema will have been confronted by films about "small people" who lives seem petty and insignificant in the telling (or even in the retelling to others): but reflect more about you and your life than the complete cannon of Bruce Willis. This is another example.

Lawless Heart (an over-the-top and misleading title) takes on a very simple story of loss, passing and the small amount of attached inheritance money. Nevertheless, it has to be borne in mind that the cash would mean a lot to the people who would receive it. There is also the vexed question of "natural justice." Something I don't want to flesh-out further in this review.

Maybe to try and distance itself from quality television, the film uses separate point-of-view flashbacks and although it might sound complicated and tricky in-the-telling, it is not too difficult a concept in-the-watching.

(Once you catch on to the technique that is. It left me a little confused for a while.)

While I enjoyed this film enormously, I must start with a string of petty irritations and focus bringers. The first being that there is really nothing new on the menu (no restaurant pun intended), the French have been doing this type of thing for years without the rest of the world really noticing.

(Those that enjoyed this film and want "more of the same" might like to start with the 1983 "Pauline à la plage." Not the same story - far from it - but the same basic approach and small home truths.)

Equally a list of well known emotion wranglers have been blended in to try and soft soap the potential audience: The use of emotive music (Adrian Johnston), 8 mm home movies and time-lapse photography has all been done before; although this film shows some imagination even in borrowing!

The movie deals with a homosexual relationship in a welcome manner. It is no more abnormal than anyone else's relationship, although that doesn't mean that everyone approves or wishes things weren't different.

Equally it never presents anything as the-end-of-the-world. People may - or may not - come in to the small amount of money we have already mentioned, but we are sure they will all survive whichever way the cookie crumbles.

Small town life is well captured, although with any ensemble piece you have your favourites. It doesn't really present women in any great light with the dorkish Charlie (Sukie Smith) providing some comic relief as the slightly out-of-it party girl who cannot - after a hard days night - even remember where she lives!

Thankfully no one is that smooth an operator and the various "rejecting women" probably have a certain amount of good taste. Layabout Tim (Douglas Henshall) is actually fascinating as we take an instant dislike to him and his leeching ways, but we slowly warm to him as the picture goes on - even if he shows no appetite for having a regular job or living anything other than a self-centred life.

Trust me I am not a sucker for sentimentality or bland emoting. Someone crying or in grief doesn't prompt me - automatically - to feel the same way, and there are plenty of characters here that could do with a good shake if not a soft kick up the backside.

In most ways Lawless Heart is a "soft sell" movie: It doesn't want to sell you anything unless you want to be a buyer of it: People live, people die, people fall in love, people fall out of love, people are mismatched in love. Occasionally people even come to terms with the limits of others.

Good work all round from the actors, producers and musicians. Without a fortune to spend I was quietly moved, even though I was trying hard not to be.

Of all the films I watched at the London Film Festival, this one stood out head and shoulders above the rest. Bill Nighy's opening performance had me mesmerised for the first twenty minutes, and the film maintained these high standards throughout.

The cinematography is superb, as are all of the performances from a very skilled and believable cast. The intertwined storylines reminded me of Kieslowski's Three Colours Trilogy, where everything comes together right at the end.

So much for the poor state of the British film industry, watch this and have your faith restored - a wonderful film in every aspect!

This was probably the finest film I saw last year. From its first scene, with the ever-so-English Bill Nighy, it was funny, sad and thought-provoking in equal measures. Nighy's turn as the confused, homophobic but well-meaning Dan was strong, and fully engaged our sympathies, but was trumped when we rewound and saw the same events as Nick (Tom Hollander). Hollander has a marvellous ability to show endless longing in a single eye movement - he's a remarkable actor and once again gave us a fully empathetic character. Sukie Smith, the opposite of his character, was clumsy but lovable as Charlie, and that segment felt almost self-contained.

When we rewound again to see Tim's viewpoint, I was a little disappointed. Tim had proved a horrible, selfish character, and I didn't fancy "being" him for any length of time. But Doug Henshall blew my mind in a performance that completely changed my view of his character and led to a moving and satisfying resolution.

In each of these men we are offered a different aspect of the Everyman. We learn that no-one is as they appear. Other laudable aspects are the uniformly strong supporting cast, the beautiful photography and music, but above all the little details. For example, Tim spooning sugar off the floor was genius. And in the restaurant when he makes a ring for Leah out of wire. And then the ashtray catches fire. Also, spot Corrine's dinner party in the background as Dan drives past. Look out for as many of these as possible! This is a film in which every detail is thought through, and it contributes for a cinematically enriching experience. SEE IT.

Sensitive, atmospheric piece, which feels very French (Rohmer an obvious influence) in its treatment of life, love and loss. Beautifully shot and acted. It's a quibble, but I wish that one of three stories could have been told from the point of view of one of the three principal women. I guess the male directors/writers might have felt unsure about it, or maybe it never even occured to them to try it. Whatever the reason, the result seems to me that the women are more enigmatic than the men, less developed, more like figures than characters. Having said that, it's an excellent work, well worth seeing.