London to Brighton

Gritty Dramas are not usually my thing, but I saw this by chance and was very impressed by it. It's nearly impossible to make a first feature film. It's nearly impossible to make it good on as tight a budget as this was obviously shot on. The fact that it was made in such a short time is also another factor to be considered. And my consideration, after taking all these factors in to account is, this is brilliant! It is a strong story with plenty of moral interest, it has strong performances and a nicely done twist. I wish Paul every success with whatever he does next! He is a directing and writing talent to watch out for!

In London, the pimp Derek (Johnny Harris) assigns the prostitute Kelly (Lorraine Stanley) that works for him to find a young girl on the streets to escort the powerful mobster Duncan Allen (Alexander Morton). Kelly finds the twelve year-old runaway Joanne (Georgia Groome) in the train station and Derek proposes one hundred pounds for the service and the girl accepts. Kelly befriends Joanne and takes her to Duncan's mansion. When Joanne cries in the bedroom where she is with Duncan, Kelly runs and defends the girl. At 3:07 AM, the bruised Kelly and the tearful Joanne lock themselves in a public toilet. Kelly asks Joanne to stay there because she will raise some money for them to travel to Brighton. Meanwhile, Duncan's son Stuart Allen (Sam Spruell) calls Derek and asks him to meet him in a night-club. When Derek arrives, Stuart tells that his father is dead and he wants the responsible; further, he cuts his knee sinew to prove that he is not kidding. Derek calls his associate Chum (Nathan Constance) and they begin to chase the girls.

The excellent "London to Brighton" has a magnificent screenplay that discloses a crude and dark tale of friendship and lost of innocence through flashbacks and a surprising conclusion. This low-budget gem has a stunning cast, with top-notch performances, and the debut of director (and writer) Paul Andrew Williams in a feature could not be better. In the DVD, there is an awesome and cruel alternative ending that should not be deleted, as well the sequence in Duncan's bedroom with the two girls. The comradeship of Kelly and Joanne and the final redemption of Kelly protecting the girl are touching and beautiful. My vote is eight.

Title (Brazil): "Londres Proibida" ("Forbidden London")

London to Brighton (2006)

A harrowing story, a real descent into a little sliver of the streetwalking underworld of London and the perils of little rich girls who run away from home. I don't mean to make light of any of it--the movie pulls no punches, and adds some that go beyond the usual violence, too--but this is one of those recent stories where a terrible situation is imagined, and then filmed with awful realism. The two tracks, the plot with its significance, and the raw, visceral reaction to seeing anything so horrible, are both played out to the max. And acting is really first rate. The bad guys are really sneeringly awful, and the two key females, a full grown but struggling prostitute and a young girl who gets swept up in it all, are so believable it's scary. And impressive.

And none of this is enough for a great movie. It makes for an intense experience, and there's no rule that says a movie has to be enjoyable (this is totally not enjoyable in the usual sense). But there is little here that reveals or probes, there is little of what you might call art, or nuance, or originality. It's not exactly a formula, yet, this kind of abuse in your living room, but I think it will be. There are several I've seen recently, the one that comes to mind is Julia. In both movies, young children are victims and it's difficult to really watch without detaching and looking around the living room and reminding yourself this is fiction, these are actors, don't worry.

Terrible things happen in the world, of course, and worse things. But I'm not sure we need to see them. It's like becoming an emergency room doctor because you are fascinated with suffering and blood. Movies should be like doctors, then (to stretch the metaphor) and have some purpose to them beyond wallowing.

And beyond representation. I think accurate representation is the simple motive behind the filming. The director (in this case with a short resume--I've never heard of him) makes it vivid, fast, and very real. In that sense he succeeded. But this realism could have been a means to a greater effect, a higher intention, something that takes the viewer somewhere. Anywhere.

I can't recall the last time a film had such a visceral impact on me. Coming out of the cinema after watching "London to Brighton" I felt my senses reeling and the adrenalin pumping as if I had just stepped off a particularly fiendish theme park ride.

There's a grim nastiness running throughout this story, interwoven with a thin thread of maternal compassion. Life is hard and hopeless for these people. They have few choices open to them. Their environment is sordid and gloomy. Even the seaside resort of Brighton is cold, windy and desolate.

But what lifts the audience out of what might otherwise be a depressing experience is the storyline which builds excitement and fear to the point where my friend felt he had to get up and actually leave the auditorium! Without revealing the plot, I can say that had he stayed, the final scene – which in no way strays from the noir – would have rewarded his perseverance.

The cast turn in convincing performances and Georgia Groome is excellent as the young runaway.

The fact that the Edinburgh International Film Festival bestowed their New Director award on Paul Andrew Williams is a solid enough indicator of the strengths and unique qualities of London TO BRIGHTON. Admittedly made on a shoe-string budget, and cast with relative unknowns, the film never once looks cheap or out of its depth. I was amazed when I saw it at Edinburgh by just how tough and unflinching a portrayal of the criminal underworld it is. The leads put in tremendous performances that will surprise many, and William's writing is exceptional. The film really zips along through its 90min length, and pulls the viewer in to a lock-tight embrace. In my opinion this film is one of the highlights of the year so far and a real find for the British film industry. For a first-time director working on a tiny budget, getting five star reviews in the Guarduan and Scotsman, and great praise from the Times is a hell of an achievement. I hope other people who love British cinema see it when it is theatrically released.