Somers Town

Though clearly a bit of a "quickie" project made in the immediate afterglow of This Is England - and featuring that film's young star Thomas Turgoose in one of the two main roles - the DV-shot, (mainly) black-and-white, minimal-budgeted 'Somers Town' is by no means a "minor" Meadows. Indeed, in terms of tonal consistency, concision and cumulative emotional wallop, it's in several ways a more satisfying enterprise than its bigger, BAFTA-winning "brother". Indeed (again), there have been very few more moving films from any director since Meadows' own Dead Man's Shoes (2004) - though in this instance it's very much a case of joyful rather than sorrowful tears. This is a delightful, quietly topical, deceptively slight miniature about teenage friendship and first love - scarcely new subjects for cinema, but handled with sufficient sensitivity, humour and spirit to emphatically justify such a choice of material. Meadows and his scriptwriter Paul Fraser, meanwhile, deserve particular credit for so deftly maintaining such a delicate balance between the bouncily engaging story and its sad, even tragic subtexts.

Shane Meadows' beautiful snapshot of life for two teenagers in North London, "Somers Town", is a million miles away from "This is England" in tone, but has no less class or brilliance about it. Filmed in wonderful black and white, this is a delightful, entertaining and involving piece about youth, culture and friendship.

The power of Meadows's film-making is in his characters. Something rings fundamentally true about the people that he brings to the screen, and the writing of Paul Fraser (a long time Meadows-collaborator) is a great help to this film. The dialogue is humorous, moving and insightful, which gets the audience utterly involved in this film. Added to this, the acting is wonderful. Thomas Turgoose, who was spectacular in "This is England", continues to be an impressive and interesting screen presence. He is ably supported, not just by Piotr Jagiello, who plays the Polish teenager Marek, but by the rest of the small, but perfectly formed, ensemble.

This film is not just an entertaining and moving piece, but is also a beautiful film with a dash of severity. There is a particularly emotive and thought-provoking scene where the immigrant father and son talk to each other. Britain's debates on immigration often ignore the individuals involved in the issues, and that scene cuts right to an unexplored area of the matter.

The beauty of the film is not just in its emotions and characters, but also in its photography. Monochrome is a form of cinematography which lends itself to beauty, but Meadows exploits this magnificently. There is a change to colour during the film which could have been crass but is in fact wonderful. The images are also accompanied by a beautiful series of songs which give the film real character. All of these elements come to fore in a number of dialogue-less sequences.

Meadows has created a lovely piece of cinema. Short though it is, that is part of its charm. It is not extraneous or self-indulgent. It is what it is: a simple joy to be delighted in by many.

Shane Meadows' new release, Somers Town, has received mixed reviews in the British press. The film has received criticism for its source of funding, having been developed with the funding of Eurostar from a promotional short to a fully-fledged feature. But beyond this, Somers Town has been criticised for being short, inconclusive and too whimsical in handling its grim subject matter. I would contend that although the style of Meadows sits rather awkwardly with the involvement of Eurostar, the film itself is a triumph: funny, intelligent and poignant.

Set in an area of inner city London near the construction site of the new Eurostar train terminal, the film follows the fortunes of two young boys from troubled backgrounds. Tomo, played by Thomas Thurgoose, arrives in London on a train from Nottingham, having run away from home. He never lets on about where he came from, and when asked he says that there is 'nothing' there. When Tomo reaches London he is soon set upon by a gang of youths. The camera moves uncomfortably close to Tomo and the bullying youths and the subsequent chase and beating set a dark undertone for the rest of the film. Thurgoose is superb in this lead role, cheeky, rude even, but charming and disarming – a far cry from the youths who attack him in the film's opening.

Tomo crosses paths with Marek (played by Piotr Jagiello), a young Polish immigrant living with his father, Marius. Marius is working long hours on the building site of the future Eurostar terminal and Marek is listless in his absence, roving the streets of London with his camera until he bumps into the disruptive Tomo. The two boys, though from very different backgrounds, are essentially rootless, and soon become friends. Together they vie for the attention of Maria, the beautiful waitress working in a local café, leading to some of the happiest scenes in the film. They also help out budding salesman Graham, a slightly absurd and very amusing Del Boy character.

The dialogue amongst the characters in Somers Town is excellent, often hilarious but at times sad and moving. Thurgoose delivers his lines with a sharp wit and the film is at its funniest when the two boys compete for the affection of Maria. The darker scenes in the film, including the attack on Tomo and the falling-out between Marek and Marius, are believably portrayed and equally engaging. Where the dialogue flags is where the new Eurostar terminal – and the accompanying ideas of travel and escape – work their way into the story. It is difficult to disregard the source of funding for the film and it is at these points in the film that there is a vague whiff of product placement.

Nevertheless, it seems that Shane Meadows has used the creative licence afforded to him to re-work the original short film idea into a distinctive work. Although his film runs to only 75 minutes it does not feel insubstantial or inconclusive – quite the contrary. The wistful, poignant ending throws light on the preceding film and affirms the themes of rootlessness, despair and dreams of escape.

With the wealth of Hollywood blockbusters and fine foreign-language films being produced this year it has been easy to overlook the films emerging closer to home, but this superb film has made me sit up and look for more British cinema.

After seeing Shane Meadows brilliant,but unsettling previous film, 'This Is England',I wondered how is he going to top himself with this one? The answer comes in the form of 'Somers Town',a gritty,grainy black & white film (with colour inserts) with a real "do it yourself" (or,D.I.Y.)look to it, that wears it's heart on it's sleeve. The story concerns two teen aged boys,Tomo (played by Thomas Turgoose,from 'This Is England'),a homeless lad that managed to escape a harrowing home life in the north-Midlands to run wild in the streets of London, and Marek (played by newcomer Piotr Jagiello),a young lad, who is living with his divorced father,Mariusz (played by Ireneusz Czap),both immigrants from Poland living in London. Tomo & Marek meet under some dubious circumstances,with Marek not liking Tomo much at first,but the two forge an uneasy friendship,fall in love with the same woman (a French waitress,Maria,played by Elisa Lasowski),and generally become B.F.F's (best friends forever). Paul Fraser writes a heartfelt screenplay about two opposites that overcome odds to find friendship (Tomo is easily the most unlikely to be able to even have a friend,due to his scrappy nature,while Marek is lonely,due to his father's hard drinking with his co-workers). Natasha Braier's kitchen sink,black & white/colour photography (shot in monochrome HD)gives this film it's character look,and the crisp editing really works to give this film the kudos it deserves. Not rated,but contains some rude language,sexual content & a rather nasty gang beating inflicted on the young Tomo by a street gang

This story has Tomo, a young teen (apparently homeless) from Nottingham coming to London. He lands in the area of London known as Somers Town and his first encounter has him being robbed and beaten by three young toughs. Tomo encounters Marek, a young Polish immigrant, in a local café. The aggressive and outgoing Tomo and the shy, lonely Marek make for an improbable match, but they gradually become fast friends.

One of the delights of the film is in its capturing the close friendship between the two boys. Both boys are taken with a somewhat older French waitress in the café where they met (Tomo remarks several times how "fit" she is). Emotions run high among these three. Older viewers will likely be reminded of how intensely life is experienced when young.

At seventy minutes this has the structure of a short story. Things progress with sweetness and gentle humor until a powerfully dramatic scene between Marek and his father is inserted toward the end.

Most of the movie is filmed in black and white. Indeed the photographic contrast is dramatic, giving the impression that there are not many shades of gray to take the edge off the black and white.

The soundtrack contains original music by Gavin Clark that adds much to the experience. The song, "When We had Faces" enhances the charming final scenes, leaving you on a high as the film closes.