Cass

Way more than just a football thuggery story, as our protagonist has to weave his way from being an orphaned Black kid (Nonso Anozie) raised by White foster parents in a predominantly White London east end neighborhood to being a self-respected man with a job, family and peace of mind. Along this most circuitous route, he encounters racism by both Whites and Blacks: by Whites because of his color and by Blacks because of his cockneyed "White" sounding speech patterns and by his reluctance to "go Black" to his so-called African/Jamaican roots. He is quite content to merely be himself and is fully comfortable with his Caucasian foster parents who brought him up with love and attention. He cares far more about his family and his mates than for some artificial and ephemeral political/racial cause. The jail cell scene with the back and forth dialogue between Cass and his "Rasta-ish" cell-mate bears this point out.

But his issues with the aforementioned football thuggery with its concomitant need for constant revenge through violence is keeping him from the realization of his true inner self, the real man he wants to be. The thrust of this film deals with how, over long periods of time, he must manage to extricate those inner demons in order to achieve any sort of lasting peace. And a superlative job indeed is done to portray this metamorphosis by Jon Baird & co., especially the lead role by Nonso. No fancy existential/psychological drama in this hard-hitting, straight-forward piece: just a man in search of himself with the hopes of finding some semblance of a peaceful, fulfilling existence.

This film was of a real interest to me as it was produced by the same producer as Green Street, and having watched it I feel more informed, if a little frustrated.

The film centres around the character of Cass Pennant, a real life hooligan and 80's icon for hooliganism. Adopted into a white family, in an age of racism and violence, Cass finds his natural environment in the place where you would have thought he would be the biggest victim.

The script is based on Cass Pennants book 'Cass', and you can't help but feel it was copied and pasted from novel to script. The main problem is that this could have been one of the best football thug films if they had managed to get decent actors. Not that they don't do a good job, its just not great. Nonso Anozie is pretty good as the main character Cass, its interesting to see a generally soft natured character flip out now and again in a hooligan film instead of the typical hot-headed cockney. The rest of the cast however don't support him very well, and it seems as though they are forcing the drama rather than acting in a biopic.

Overall though, its an interesting insight into a real character in hooliganism, how he ended up, and kept going back, in the hooligan 'business'. If you are looking for another rise of the foot-soldier or a football factory type film, then this may not be for you.

As a true story it's never going to feel like a Hollywood blockbuster, but compared to something like The Krays I think it stacks up superbly. This film feels real and as a side point the story should be respected, racism was rife in football at that time so the 'achievement' of Cass is even more remarkable.

I guess I'm a bit biased as I've met the man, met his wife and met his son (who had an extra role in Green Street).

Summary is this; a good film on a really interesting life and even though the narrative is grim, enough in the film to entertain, definitely recommend.

Sure Cass is about hooliganism and has enough of that to fit the bill, but this is good enough to be mainstream viewing.

We found it much better than we expected: good central performances and a great arc lift this from its genre to something better.

It really looks and sounds (the language is what is was, every second word is filth, but then it was) like the British East End 80s down to the council flat doors.

I can honestly recommend this a good well-made film about life in Britain in the early 80s, it is a little light on production and directing values, it is shot too simplistically, but the story is well delivered, it is probably not for your granny (unless she's a hard nut), but deserves a wider audience than just 20 year old males with a footie hard on.

This is the film adaptation of how one Carol "Cass" Pennant rose from being an orphaned black boy, adopted by a white middle aged couple, to being a leader of the notorious football hooligan firm, The ICF.

You know what's funny? That one of the most well known names in the world of British Football Hooliganism is the last in the line of football violence related medium's. Had this film, and Cass' book been ten years ago, it surely would have had a greater impact. Going back to when the Brimson Brothers decided to write about a topic nobody but those involved understood in the mid 90s {source Everywhere We Go}, there has been books galore from what seems almost every footie hoolie mob going. Throw in all the film's and documentaries that have found a distributor since Gary Oldman starrer, The Firm 1988 {ID, Football Factory, Green Street and The Rise Of A Footsoldier etc}, well it's a pretty exhausted subject. So much so, that it's only really those of a certain age, and of an inclination to the topic, that can get much out of what essentially feels like a belated cash in.

In Cass' favour is that Pennant does have an interesting back story from which to launch from. His upbringing, and early struggles with racism is nicely dealt with. It put me in mind with Caroline Gall's book about hooligan outfit Zulu Warriors, where the black and white mix of races became united at football matches {see what I mean about this film trailing in others wake's}. So it be with Cass, it does have a bit of heart to go with its obvious shouty muscle. But here in lies another problem with the film, where does it want to go? What is it asking or telling us? Is Cass conflicted emotionally? Or is he merely using his troubled youth as an excuse for pounding some poor Newcastle fans head in? Pertinent questions that aren't properly answered I feel. There's a nice sequence with Cass in prison, as his racial standing is called into question by a patois spouting convict, but outside of that the film flits between being about a troubled man to an all punching thug. Something that, as I mentioned earlier, is pretty much old hat now guv.

Nonso Anozie does good work as Pennant, and Natalie Press continues to be effective in these type of roles {see Fifty Dead Men Walking}, while the underused Tamer Hassan asserts his scenes in another typecast role. I personally enjoyed the film because I can see that those involved thought a good film could be made about the matters at hand, but I'm afraid that anyone hoping for something fresh are in for one big let down. 6/10