Saxon

You would be forgiven from reading other reviews of this movie for assuming it is a gritty gangster film set in a gritty London council estate. But if you make the effort to check it out you will be rewarded and surprised as it is really nothing of the sort; it is actually a mish-mash of reverential genre-hopping that adds up to a nice slice of entertainment.

Set almost entirely within the confines of the titular housing estate the plot concerns recent jailbird Fast Eddie (Sean Harris) returning to his familiar stomping ground trying to track down an old pal that has won a large sum on a TV quiz show. Eddie needs money desperately to settle a debt to some nasty characters who have already gouged out one of his eyes and intend to relieve him of the other if he doesn't stump up the moulah quick smart. Unfortunately his pal has disappeared so he enrols as Private Dick for the missing pals wife, offering to find out what has happened in return for a payment that gets him, literally, off the fish-hook.

Nicely paced, the film gives us the pleasure of a slow-reveal, as the various characters we meet, who seem random at first, eventually form part of a jigsaw that fills in all the gaps and lead us to a satisfying conclusion. Along this journey we are treated to all manner of movie conceit as a relatively simple idea plays out in a stylish manner that belies it's zero budget and manages to pay homage to the movies in a way that only a director who still feels the thrill of the big screen could manage to do.

We get more than our fair share of Kubrick, especially The Shining; a cute dose of Leone; a sprinkling of David Lynch and, very surprising in a small independent BritFlick, what seems like Wong Kar Wei. It is actually a film for those that like film and some viewers may find it a little pretentious at times but there is enough tension and black humour to sustain most and the cast manage to hold back on the histrionics despite the script giving them plenty of scope to go berserk. Harris is particularly good at this, hesitant and reserved in his delivery he just about gets our sympathy even though Eddie is as much a ne'er do well as most of the inhabitants of this very separate universe. Of course, the other star is the estate itself, more malevolent in the bright sunshine than it has a right to be; this is a directorial gamble that pays off very nicely. With the exception of a scene involving a lift you don't get a real feeling of palpable dread at any time, mainly because the characters are mostly bonkers - but you do really, really want to know what happens.

Saxon could possibly have been a little more compact and some scenes are merely there for fun, but it is a good idea, very nicely shot, well acted and when you think of the tripe that gets cash thrown at it, even in the independent world, you wish Loftin the best of luck to get more films made of this nature. Sassy, flawed but ultimately satisfying the best thing you can say is that it is fine entertainment and well worth the price of admission.

I had the good fortune of watching this film at a preview screening in London last week. I hadn't heard a lot about the film and neither had most people at the half full cinema. Well more fool the half of the audience who didn't turn up as this was without doubt one of the freshest and funniest feature films to emerge in ages.

Right from the gripping opening sequence, Saxon grabs you by the scruff of the neck and pulls you along for an uproarious ninety minutes. It's difficult to classify the movie, part spaghetti western, part thriller, part dark comedy with a touch of redemption and dash of romance set in a run down estate called Saxon. To it's complete credit it never feels like a mish mash of ideas, in fact the complete opposite. It all works and combines seamlessly to introduce different characters and subtle story lines that all build to an explosive ending.

There are numerous little sight gags and one-liners that had the audience in stitches throughout the film, as well as touching moments that had you really rooting for Eddie, the anti-hero. Sean Harris does an excellent job in the lead role and is supported by a cast that most people will never have seen before but who are all superb, particularly the actor who plays the estate villain. I'd never seen or heard of him before but he certainly made the head bailiff extremely menacing.

It's hard to find fault with the film, even more so when you find out that this film was made on a shoestring budget by a first time feature writer/director. It never feels that way and looks superb. Sure you can see that a few corners have been cut here and there but it never detracts from what is a completely rewarding ninety minutes!

Saxon's press notes boast of its adherence to, and playfulness with, the rules and conventions of the great American westerns, but it is a very pleasant surprise to observe just how subtle and shrewd those genre nods are.

The plot is appropriately simple: Eddie (Sean Harris) returns home to the grim, ghostly Saxon housing estate after both a brief spell in prison, and a visit from a sadistic loan shark. With his one functioning eyeball on the line, Eddie tries to make a fast buck by interacting with a succession of the estate's most volatile misfits, in an attempt to track down a minor local celebrity who has inexplicably vanished.

It is an irrefutable oddity for sure, but the plot's fiendish momentum does exert a palpable grip, and for a film shot for almost nothing, it looks outstanding; composed entirely of wide- angled hand-held shots, it comes off (visually, at least) like a collaboration between Luc Besson and Andrew Bujalski. But the ominous, whacked-out aura is all its own.

This is simply perfect if you're in the mood for some impeccably crafted weird.

England has council estates, we have housing projects here. Saxon estate makes our projects look like a home in the suburbs. Further, it's being evacuated to make way for a new runway for the airport which borders the estate. Remaining are the die-hards; the people with nowhere to go, the elderly, the forgotten, and the ones who only can dream of leaving but don't know how or have the courage to leave. They can exist in this environment. It's barely inhabited, but what and who remain are daily "trouble." Eddie Pierce was one of those inhabitants, until he got himself sent to prison. And now he's out – so he returns to the only place he knows – Saxon estate. His one friend, Kevin, has won 1 million pounds in a quiz show but has gone missing. Eddie, on the other hand, owes a debt which has grown to an impossible sum, and has little time to settle up. Eddie's only source of repayment will be to find Kevin before time is up. Eddie he offers his services to Kevin's wife for a price – to find Kevin. And so Eddie's return to Saxon begins; Eddie is no private detective. He is an ex-con, and Eddie has his own demons to carry.

Sean Harris and the estate are the stars. Saxon estate is a bad dream turned nightmare. Eddie is quite inept as he begins his return. He is resourceful, but a screw up. He's bad, too open, draws too much attention, and is none too discrete. At every turn, a new evil pops out.

The film is evenly-paced and not a moment is wasted. It is a dark movie, even when filmed in full sunlight. Edgy, gritty and the comedy is dark, subtle humor because Eddie's character is a puzzle and he is desperately following a mystery. But, he needs to survive Saxon as he walks a path toward being its victim -- again.

It's a thriller and a good mystery. Two stories are intertwined – Eddie's own story and his search for his friend. Excellent camera work in true Hitchcockian fashion. Long shots from above and down along the rows of the estate giving the viewer a feeling of being insignificant to the greater dangers that lie ahead (and they are real --- think "Psycho" (Martin Balsam on the stairs) or Cary Grant, "North by Northwest", waiting on the road, alone, by the empty cornfield; you just know trouble is coming). Hitchcock would have loved this film, and the sly tongue in cheek humor.

Also, shot in close up giving Sean Harris the means to act especially when he has little dialogue, because that is what Harris does. He acts. Harris carries this film (his first lead). The irony is that all those who remain are living next to an airport.

Warning: some (lots of) simulated violence. With a quick compliment on the scenes with Eddie's screen mom. They are especially compelling together. With a special applause to the actress that played Mrs. Pierce, Sue Maund.

Greg loftin has written and directed and produced (Phew!!) his first feature Saxon and it got its first showing at the Filmhouse in Edinburgh at the International Film Festival...and what a successful & impressive (micro budget also) debut it is! (Aug 24th) The movie centres around Eddie (a brilliant Sean Harris) who is in search of a missing mate after leaving prison - he is hired by the mate's wife to find him and also he must pay off a bunch of nasty fishmongers before he loses his eye as payment. (the other has already been removed by the fishmongers) There are also nods to British cult classics like Clockwork Orange and the kitchen sink dramas of the 60s when the scenes are intimate between Harris and his female co-stars (This Sporting Life comes to mind)...I think this film has a certain cult potential but will not be to everyone's taste - some scenes are very strong and the story demands attention and respect.

The film starts at a fast pace but then changes pace - and at every turn there is a new twist - so we have a violent opening (but thank God this does not turn into another Gangster flick) followed by a nice scene between Linda (Sarah Matarves) and Eddie and then we are introduced with Tongue Firmly in cheek to "The Bailiffs". The pace changes work and the main performances are solid.

The colours of the film are beautifully shot and stand out - esp the grim housing estate (Saxon it's called - hence the name) and the music is a nice original accompaniment to the scenes.

Many of the characters are introduced at random at first - from the Lighterlady, Russell (an excellent Drew Edwards) and a mad fishmonger chasing Eddie (a scary Stephen Manwaring), an insane tramp and we are left slightly bemused as to what these various characters are up to (we find out) but as i engaged with the story, it all came together right at the end with a twisted yet funny sense of logic. The characters are brilliantly quirky and this film does not take itself too seriously and has a very British feeling about it...It's almost insane...

Saxon was a refreshing change to watch at the cinema and a breath of fresh air! Hope it makes it nationwide.

the Film Nut (Edinburgh 2007)