Violência Máxima

Football violence is a horrible thing. Period. What "The football factory" shows us is a bit of reasoning behind why, seemingly normal go out and beat the crap out of each other because of a game with 22 guys and a ball. The truth is, it has nothing to do with the game. How the team actually does really doesn't matter, as long as you get to play your rivals because it's about togetherness and escaping the dreariness of everyday life. In a sick a twisted way of course, but it's the only way for these guys. The movie itself goes by at a million miles an hour and gives us characters that seem both believable and real, and a really touching story of a friendship that has lasted through the ages. The main character Tommy is a really interesting one: He knows he's on the path to destruction and through visions of his own demise, he realizes that it's all going to hell and that he (along with the other hang-arounds) are along for the ride. It's a movie that is definitely worth an hour and a half of your time and you Americans should praise yourself lucky that at least you got one thing right: You know how to behave at sporting events (hell, at NFL games they have barbecues out in the parking lot where fans of the opposing teams eat and hang out together. Just imagine that at a Tottenham-Chelsea or Roma-Lazio game!)

The hooligan culture is and never was a class thing, people from all walks of life participated, from local council flat drug users to people with well paid office and professional jobs to ex-army types on a very nice pension. This film shows that in true fashion.

Whilst I never took part in any of that crap I have met, seen and known many who have in my time, most are fairly normal people away from all that, in fact I knew one guy for over a year before I found out that after standing on the terraces with the rest of us on a Saturday afternoon he used to go and get pissed, filled up with E's and go on a rampage with his other mates in other nearby towns looking for Cardiff City supporters.

This film is a fairly accurate reflection on the type and mix of people who became hooligans in the first place, especially poignant is the guy who got away from it all, made something half decent of himself and puts it down to simply growing up. Most of the people I have seen in the past are like that, the ones who aren't tend to be those who were put away before they got to that maturing stage, and I'm not talking about end of puberty maturing I'm talking about the day you wake up and think to yourself is this really going to be the rest of my life kind of maturing.

Full marks to all involved for not taking the easy way out and producing a sack full of morally correct/incorrect bullcrap and instead giving a realistic insight into a very scary world.

Yes the film does not really flow or have a connected plot line, but then it isn't meant to, it is meant to be a film about real life, real life does not have a set up stage, middle bit and happy conclusion. In fact this film could probably loop around for another few years of Tommy's life before he either ends up in jail or shakes himself out into the happy ending scenario that I'm sure many were expecting all along.

The film is at times brutal, unsubtle and the language is extremely tasteless, however these are all thing you would have seen in that reality and it is to the credit of the makers and actors that this did not bog the film down at all. Every scene had a purpose no matter how obscure it may have seen at the first watching.

At every scene from about 10 minutes in I felt emotionally involved in a way that not many films manage to do to me, I actually had empathy for these people if not sympathy, I could se how they could get pleasure from the things that they do even if they turn my own stomach to think of anyone I really care about being involved in them.

Even today in what is a golden age of film making (and don't let any stuck up critic tell you it is not) very few films really make you feel connected to the characters in this way, films like Trainspotting, Twin Town, Human Traffic and now Football Factory are a very unusual thing and seem to be specific to the British film industry right at the moment. Maybe it's just I am personally more able to relate to them having grown up around such cultures, I don't know, I just know that I am glad I bought this film and would recommend anyone watch it if only for a better understanding of the culture at that time, something I am proud to say we have made huge strides to eradicate in this country.

An auteur is regarded as a director who has a running theme throughout their resume . For example Robert Aldrich is considered a " sadistic " director and whileis films may be tame compared to the video nasty era the likes of TOO LATE THE HERO and ULZANA'S RAID do still come across as compellingly blood thirsty and violent . The films of Martin Scorsese usually involve protagonists being caught in an existentialist quicksand where the more they try and find their goal in life the more they sink into a problem of their own making . Let's not get too caught up in the auteur theory however because much of it is simply down to movie studios assigning scripts to well suited directors " Hey Marty , we've got a script here featuring a deranged loner wanting to join the mob . Bob and Leonardo have already signed on the dotted line . You interested ? " . Nevertheless it's obvious that Nick Love in the years ahead will be honoured in this fashion if only because his films feature blackly comical stories of working class British males fed up with the state of the nation

In terms of style and execution THE FOOTBALL FACTORY isn't a million miles away from the likes of TRAINSPOTTING and TWO SMOKING BARALLS . It's very quirky , rather episodic , fairly violent and oh so bloody entertaining . You could say it contains all the flaws of recent British movies like an overuse of the words " FAHKIN' " and " KANT " but we are talking about the notorious Chelsea headhunters football hooligans and there are admittedly some unlikely coincidences involved such as two of the headhunters burgling a house that belongs to... but unlike Love's later OUTLAW you never feel at how contrived these plot twists are which probably says much of the film's entertainment factor . It could also be that the original source was strong in the first place since I get the feeling that Love totally fails as a screenwriter of original material , certainly the problem with OUTLAW was an underdeveloped script with very underwritten characters who lacked a recognisable motive . Here it's obvious but never overstated that the motivation of becoming a hooligan is to belong to something . And unlike in OUTLAW when something funny happens in THE FOOTBALL FACTORY you genuinely do laugh instead of scratching your head wondering if in fact it's supposed to be funny

I have to confess that I've seen the feature films of Love back to front . I saw OUTLAW when it opened in the cinema in March , I saw THE BUSINESS a couple of months after that and saw THE FOOTBALL FACTORY for the first time last week . If Nick Love had released his films in that order then I would have said that here is a film maker who is really hitting his stride as his films just get better and better . Unfortunately what this means in reality is that Love is on a downhill curve and that nothing has come close to matching THE FOOTBALL FACTORY . One can only hope that the big screen remake of THE SWEENEY , a TV show well remembered for its mixture of black comedy and violence , will see a return to form for an underrated auteur

I read a review of The Football Factory that said the characters are so "orrible" and "hateful" it was impossible to like them at all! You have to think that that particular reviewer knows nothing about the subject matter of the film he was writing about. Does he think that hoards of footie hooligans, who delight in knocking seven bells of tar out of each other, want to be liked?

The Football Factory is directed by Nick Love and based on the book of the same name written by John King. It stars Danny Dyer {who else really?}, Frank Harper, Neil Maskell and Tamer Hassan {Hassan fans should note he's rarely in it tho}. The story is about what was termed The English Disease, a disease where like minded adults from various walks of life, religiously took to fighting like minded adults, in the name of what football team they happened to support. There's been a ream of books written on the subject, from those involved and by those who haven't a clue outside of reading their Sunday Times articles back in the day. There's also been one or two films about the subject, from pretty ace efforts like Phillip Davis' ID, to middling tellings such as Elijah Wood starrer Green Street. It's a subject that people seem hell bent on dissecting and attempting to get to the bottom of.

So with that in mind, Love's movie is something of a triumph in that it tries the hardest to understand its topic. To those on the outside of football hooliganism, it looks like a bunch of blokes mindlessly inflicting harm on each other whilst simultaneously damaging the good name of the national sport. But Love, with help from King's source, explores ego led tribalism, male bonding, male conformity and dissatisfaction of life in general. Throw in the punches and a ream of genuine laughs and you got a film that is easy to like if you belong to a certain demographic. Here is the problem if you are not a geezer, a tribal footie fan or a mindless thug, The Football Factory holds no appeal to the casual observer, which is a shame, because as stated previously, it's trying hard to reason and understand. There's for instance a cracking plot-strand involving two old fella's, Tommy's {Dyer} granddad Bill {Dudley Sutton} & Albert {John Junkin}. Both lifelong pals who have grown tired of what "their" Britain has become, thus they are in the process of emigrating to Australia. This dovetails smartly with the unfolding story of football violence perpetrated by the kids of the day. Generational differences? Perhaps, maybe?

The cast are strong, either fitting the mean profile perfectly {Harper/Hassan} or delivering the needed cocky swagger line {Dyer}, Love has assembled, what is for the material at hand, the perfect cast. OK we probably could have done with Vinnie Jones or Ross Kemp in there somewhere, but it's a low budget movie you know!. The fight scenes are grim and look authentic and the soundtrack rocks the large one too. So is it glamorising a touchy subject? Well yes it is, if you are a football hooligan yourself that is. It's not a perfect film by any stretch of the imagination, but it has good intentions in there, even if not all of them are fully realised. To which it leaves us with an impacting, intriguing and uneasily enjoyable movie. 7.5/10

MY VERDICT: **/*****

The logic resulting in the production of this film is not hard to follow. The scathing social satire and searingly counter-cultural Trainspotting was a brilliant British film. The flash-talking, fast-plotted, gun-wielding, hard-brawling Lock Stock was a good British film. So why not combine aspects of both? Predictably, the result is a mess, but flashes of good film-making keep the viewer interested for the 1 hour and 20 minutes or so of football 'n' fights.

The opening sequence closely follows the Trainspotting format. A narrator, later we discover called Tommy, delivers his criticism on how we live our lives and how he has found excitement and meaning by flying right off the rails. The soundtrack moves from one Brit hit to the next as we are introduced to his gang in some snappy montages. Again, the Trainspotting skool of film-making isn't so much an influence as a screenplay, storyboard and script.

Soon, we get to know the gang, and learn that the love of their lives is violence, especially (but not exclusively) surrounding their football team, Chelsea, and particularly focused against their arch-rivals Millwall. I was preparing myself for some gruesome violence as geezers started drinking pints and looking for a fight. And then, the film ... just ... chickens out. A film which is supposedly about football violence should, um, contain some football violence maybe, but Football Factory becomes a film version of one of its thugs - all bluster and intimidation, and no bite. Supposedly hard-hitting action sequences have soap opera-like qualities. Never do we seem to see a fist connect in anger, or teeth shatter, or bones crack. Just some bad pantomime blood and incompetent camera-work. This inadequacy seriously undermines the film's impact - it fails to pump up the audience to the next big fight, and thus has no discernible pace. Just scenes, shots and cuts.

Instead, the focus of the film falls (rather disastrously) on the uninteresting, homogenous characters. With a sigh, I realized this wasn't going to get any better, and began to take mental notes of names, story lines etc so I could at least follow the plot. Tommy and Rod are the central duo, the thugs with brains, imagination, and perhaps the insight that will lift them out of this life. Bill is meant to be the ultra-nasty psycho - Robert Carlyle in Trainspotting was clearly what they were trying to emulate - but some unconvincing acting gives him all the terror of a particularly in-your-face door to door salesman. Zebedee is there for exposition on the cocaine-fuelled lifestyle that all youths supposedly lead (is this true? I was a teenager for years, and I never remember being offered cocaine.) There's also an organised violence ringleader, although I don't have to worry about his name because he brings absolutely nothing to the plot at all.

In brief, the plot follows the gang on the buildup to a particularly bruising clash - Millwall versus Chelsea, and particularly how Tommy begins to get cold feet about his thuggery and starts considering his options. This isn't helped by some heavy-handedly (almost bludgeoningly) symbolic dream sequences. I quite liked the film-making device of giving no warning or visual clues to as what was a dream and what wasn't. It's not put to an ultimate good use though, much like the rest of the handful or so of original ideas in the film. I like the dope-smoking old men though.

So is this worth viewing or not? Certainly, it's got more to chew on than another awful CGI-overkill-marathon like Van Helsing or Catwoman. But don't expect it to truly open your eyes to another world, or indeed, still be with you a month later.