Red Road

I saw the trailer of this a few weeks ago and some of the mysterious and bleak nature of the shorts clips prompted that little voice inside me, saying " you won't be comfortable with it, but see it." I wasn't and I did.

The plot unravels slowly with little hints as to its central theme dotted about sensitively. It has you asking the question, what has happened to Jackie? How does this figure Clyde she has recognised and recoiled from on the CCTV monitors at work impacted on her lonely and monochrome life ? The answers come quite slowly as she puts her head into the lion's jaws of proximity to this danger man. A bit like the pantomime responses I felt like saying, " No, don't go any closer,he's behind you; you'll be recognised.", failing to recognise myself that something in her wants exactly that. In fact she receives from him perversely, what no viewer might possibly expect, but then she has us asking, is this payback time ? I'm not telling you, see the film ! The unfinished business Jackie has with Clyde is what this film is about.

The raw,down-at-heel, desperate, littered, high rise and windy Glasgow streets and housing estates as the backdrop. Ordinary everyday people get on with their lives oblivious of the drama being enacted in Jackie's life and culminating in an protracted showdown. But this is not the end. No, for all the unresolved grief, anger, erotic fascination and damaged lives, there remains a hope born of the unlikely. The film leads you away from the possibility, but ultimately there is life after death in Red Road. No cheering music soundtrack intrudes to romanticise what cannot possibly yield to only to the mawkish. There is just silence, sounds of the street, machinery, public transport and some well chosen tracks to create mood when required. This is what the vintage among us identify as continental cinema, no wonder they loved it at Cannes. This is not a film for audiences to remain detached from; the sheer intimacy of the camera work and the evolving personal destinies involved get you involved too, uncomfortably. A home grown vignette of humanity wrestling with the s..t that regularly happens !

Produced in collaboration with Lars von Trier's production house Zentropa and based on characters created by Lone Scherfig and Anders Thomas Jensen, this debut feature by Oscar-winning Andrea Arnold is the first British feature filmed under the rigid Dogma-principles. I guess I'll never become a big fan of Dogma-style film-making, but I must admit, this was a well-structured and ultimately intriguing piece of film-making, if you can make it to the final half hour, when part of the story is resolved and some sorely needed background information is given.

We meet a woman (Kate Dickie) who works as a CCTV operator, obsessively observing the residents in a run-down housing estate in Glasgow. She seems obsessed by her work, compensating for her non-existent social life. Most of the story revolves around a dire housing estate, a huge 25-floor tower, on Red Road, from which the film got its title. On day, when she zooms in on a man having some back-alley sex with a young woman, she recognizes him and starts tracking his every move on camera, but in real life as well, even insinuating herself into his life, going to his apartment and even attending a party he's giving. Obviously, she has some shared experience from the past with this man. At first, it seems an ex-husband/boyfriend, but soon it becomes obvious he doesn't know her, apart from a vague recollection, "haven't I seen you somewhere before?" Who is he and foremost, what on earth could this woman possibly want from him? The film keeps you guessing till the very end. Perhaps a bit too long. For almost 90 minutes you keep wondering why the hell she goes through all this trouble meeting this mysterious fellow. Till then we're fishing in the dark.

The film is greatly bolstered by two extremely convincing performances. Kate Dickie commits herself to this role with such vigour, her every move comes off completely believable, despite her motivations are hard to understand, while Tony Curran's performance ranges from very frightening to even touching at times. It's interesting enough to keep watching, but only just, till the end, when the elements fall in place. The prominence of CCTV surveillance in the film and how far it has penetrated Britons everyday lives (and increasingly in other parts of the world as well), is quite revealing and disturbing as well. Since a large part of the film consists of CCTV-images and is strained by Dogma-rules in the first place, the images are not always pleasing for the eye. But some beautifully shot night scenes around Red Road-estate and the two powerhouse performances by the leads largely make up for some shortcomings in the film's narrative.

Camera Obscura --- 7/10

I saw the North American premiere of Red Road on Sept 14, 2006 at the Isabel Bader Theatre during the Toronto International Film Festival.

This was extremely well made for a first time feature and the story line packed quite a few wallops on the way. It is a slow build up so just be patient, there'll be plenty of shocks to come and it is quite a while before all the pieces fall into place.

It was a very original idea and story by Andrea Arnold using the characters imposed on her by the limitations of a new Dogme-like film rule called Advance Party. 2 more films are set to come using the same lead characters and actors but in entirely different contexts. All of them must take place in Scotland according to the rules.

Director Andrea Arnold was there for the North American premiere and led a lively and humorous Q&A at the end that included the somewhat chilling statistics that the UK has over 4 million CCTVs or 1 for every 14 people and that overall they have 20% of the CCTVs in operation on the entire planet.

This movie is a slow but engaging film about loss, guilt, and urban life in Scotland. I found it intriguing to watch the lives of lower class people in Scotland and its unglamorised portrayal of daily existence in high rise apartment blocks. Messy flats, shitty greasy spoon diners, laundromats, housing blocks with no frills, no trees, just like the real thing.

The surveillance camera cop was interesting in itself, but the story was almost a bit part player in this film. yes it was interesting and the way it was unveiled without giving away any details before you absolutely had to know them was well paced.

But the characters were the most interesting thing, This is bleak, modern, urban life, real and uncompromising. Not overly ugly, just raw and real, and interesting.

Lead actors were very convincing and natural, I'm guessing a few of the small parts were played by non actors which i love and thought it added even more authenticity, the inner city settings and photography were gritty and real, an area which had obviously been excluded in so many ways and that grim reality was truly captured by the film. Story kept me guessing all the way through which i like, i did think i had the plot figured out at one point but i was way off the mark. Loved the general pace of the story and the fact that the script was so honest and uncompromising. I also enjoyed the more general theme of our living in a society in which we are being watched constantly without our knowledge and the privacy questions that generates. Highly recommended.