Puritan

I drove all the way from Birmingham to enjoy the Frightfest Festival over the bank holiday weekend, and I have to say I was disappointed with some of the films, there was a degree of childishness to them, but I was relieved to to see Puritan, as it was a real treat.

I had planned not to watch it, as was starving, but then i thought I had to get my money's worth for the weekend pass I had gotten.

So i sat down and watched the director introduce the film, and was really hypnotised by the lyrical beauty of this film.

Its is quite poetic, intelligent and atmospheric to the hilt. I loved the very calm acting styles of all concerned, and the glorious visuals that encompassed this film.

The similarities to Alan Moore stories I spotted immediately but that was a good thing, as its not really a Moore type plot, in that it was a thriller at heart, and not really supernatural, although there is that element to it. I just have to say i really liked this movie.

Nick Moran held my attention as the fallen down hero who has to pick himself up again and start afresh, he has to purify himself, and the way in which that is achieved is incredibly shrewd and cunning.

A Top Film!

This film has a lot going for it. A script that is smart and tight, actors that are performing at high and complex level and visual style that attains the heights of classic film noirs.

The use of shadows and contrast in its visual framing and also in the script is superb, the visual system is classical and reminded me of the Robert Townes classic Chinatown, wherein water was used as symbol of corruption in Chinatown, in Puritan, truth as a concept and also truth of character symbolised by Anne Grey, is a symbol that is regarded as lies, something not to be trusted. Many visual clues are used that work on you in many ways, the script is truly performing on multi layered levels, like all film noirs should.

The characters never say too much, just enough that is needed, an economy of dialogue that remembers the hard boiled film noir heroes of yesteryear, all framed in in deep reds and encased n blackest blacks. This film succeeds because it created a world for itself, where you believe the events that unfold, because the world that is created is convincing.

Stunning film! I viewed this film with my boyfriend yesterday at the Frightfest Film festival and without doubt it was my favourite film of the entire festival.

The director introduced it along with the whole cast Nick Moran, Georgina Rylance and the iconic David Soul.

The film is calm, cool and collected, and I cannot believe it has been made in the UK, it feels like it came from the states as it really has a cinematic look and the plot is working on many levels than just moving from a to b. It twists and turns and never reveals itself and long after you have left the cinema you are thinking about it and discussing all the possibilities of its plot line.

The director said they shot it in 21 days which staggers me, because it is so beautiful to look at and so professionally done, my hats off to him and his amazing cinematographer.

This is the kind of movie the British film industry should be making, and its so good to hear an independent film maker has gone out there and done it completely of his own accord. Go and see it, i think its going to be one of those films that will become a favourite.

Superbly crafted film. A real surprise for me, I saw it at the LUFF screenings at the NFT. It is quite gorgeously photographed, the main colour being red, which is used throughout in very heavy shades, but this really works as it is counterpointed by deap heavy blacks. The film moves along in a very considered way, it reminded me of the steven soderbergh film 'sex, lies & videotape' in that regard.

The plot is quite multi layered in that it takes you along but you never know where you stand with it, at many points I thought I had figured its conclusion out but was double bluffed, and was wrong, so i enjoyed that aspect of it. The ending does come out of left field and I have to say i didn't really expect it, and was annoyed that I hadnt figured it out but was also pleased that it tricked me. It is the kind of film that you leave and think about for the rest of the evening. All in all an enjoyable film.

If anyone else has seen it, can you tell me the significance of the 'hand' Simon Puritan keeps drawing? This is something that I still have not figured out.

The moment you start watching Puritan you are sucked into a journey of cinematic style and intelligence.

Its patient with you and never lets you know too much, just enough to keep you watching and intrigued.

Film noir plots are things we are all used to, but the possibility of variations and manipulation in these plot lines are infinite, that is why they are so satisfying and watchable, and these variations are completely fulfilled in Puritan with an assured confidence.

I particularly admired the minimalist approach to framing and coverage. Only what is needed is shown and used, a very brave thing to attempt as it could have backfired, but in this case it succeeds in a film that is gratifying in its simplicity.