Neds

Not an original film in many ways, and not the most uplifting movie either, "Neds" is one film that will not appeal to everyone.

For those not au fait with Glasgow patter, a ned is basically a social delinquent or casual. Clichés of shell-suits, drink bottles, smoking and loitering in parks and you get the idea of what a "ned" is meant to be.

Peter Mullan makes this partially biographical film about the slide of a precocious teenage boy from star pupil to the dregs (in the 70s). Filmed without taking any shortcuts, the crew all speak undiluted Glaswegian (with no vulgarities cut) and use cutting humour. The film show physical abuse as it was, first in the classroom, then at home and finally in the streets (gang fights and the like). It doesn't dwell or linger on the violence which is thankful (avoiding pandering to some) but it is strong when it comes.

Acting is exceptionally good and the story is intriguing, plus there is a good soundtrack that captures the period very well. In some ways, it's a film that follows in the same sphere as "This is England", but it follows its own path nevertheless.

If you want social realism, then I'd say this is a good film to watch. Won't appeal to everyone, but most people will find it of interest. A good watch.

First off, let me point out a few things, to people who obviously didn't get this.

People who complained about the silly music, you really couldn't see that the director was trying to show how ridiculous the violence was?

People who didn't get the Jesus thing, well, you've obviously never come from a dark enough culture, where solvent abuse is rife, and people have extremely vivid hallucinations.

I was raised in the area the movie is set, and the time it was set, and i can tell you, its very accurate. Yes, they have accents, its set in Scotland, did you expect them to say "Kwoffee?" and no, there are no bothers in this movie, but take it from me, i never seen anyone of African descent until i was in my teens, and even then it was quite a rare thing in Scotland, and a real minority.

The movie itself is very well done, and tells a cautionary tale, that could translate to anywhere in the world. The production values of the movie are good, and its certainly way better than average and keeps you entertained, i watched this as a piece of "World Cinema", even though i come from the area, and had no trouble at all with the dialogue, but then again, thats me, i can see who others would find it difficult, then again, i would moan about this spoiling the movie, when in Rome ... i would accept it for what it is.

If you get the chance to see this, then do so, with an open mind, its entertaining, moving, shocking, and everything a good movie should be.

:)

Yes, not everyone exists under an environment conducive to success & achievements. This is the discomforting reality 2010's hard-hitting drama Neds spotlights. Here, Peter Mullan conveys without remorse, the downward spiral of the initially promising John McGill, set against the backdrop of hooligan culture around the 70s Glasgow youth. With this premise, John's descent, ushered from societal pressure & personal demons, was then quite the tragedy to witness. Mullan's unrelenting screenplay paves the way, as he captures the brutal consequences brought by systemic failure, toxic masculinity & class warfare, unearthing the violent world of street gangs which is easily the picture's most gripping facet. Where the picture makes a point but also succumbs to cinematic question marks is its refusal to give its characters redemption, teasing audiences at every possible opportunity. This undermines the efforts for authenticity, for the sake of perceived melodrama.

Of course, the performance of Connor McCarron deserves mention, carrying Neds engrossing beats through fantastic portrayal of internal conflict and transformation. He conveys the state of lost innocence with depth and captivating intensity, worthy of our emotional distress when Mullan takes the confrontations a notch more haunting.

In case not clear, Neds is far from the heartwarming kind. It is a discomforting watch experience, with Mullan's searing portrait of youth that comes devoid of morals. Nevertheless, this is a must see for those enamored with raw performances & poignant themes while those squeamish from violence, should probably steer clear. 7/10.

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

John (Connor McCarron) excels as a child in his studies, but the rough, hard environment around him soon has an effect on his personal character and, as he grows up in 1970s Glasgow, he moulds into one of the pack, as problems at home and school breed the violent character within him, going up against the hard drinking, knife wielding thugs that are the sworn enemies of the hard drinking, knife wielding thugs he's in with.

Glasgow still holds the notorious accolade of being 'the knife crime capital of Great Britain', so this could have been just as hard hitting and unflinching as it was setting out to be being a modern day drama. Instead, director Peter Mullan has presented a sprawling, overlong if I'm brutally honest, exploration of a young man's despairing, senseless dessension into mindless thuggery, possibly based on his own experiences. As a result of this, it comes off as very hard to get into to start with, lost as it is in it's own mood, atmosphere and style. But it's these same things that somehow manage to make it a more absorbing experience if you stick with it long enough, slowly drawing you into the life of this troubled character and the various ups and downs he encounters as he trawls through the rough landscape of his youth. Still, this feels like quite an undisciplined effort from Mullan, which veers into outlandish, arty moments (such as the lead character duking it out with the Lord Jesus Christ) that only serve to make it an even more alienating experience than it already is. ***

This is the sort that wins lots of plaudits and it's not difficult to see why . It's like jumping in to the Tardis and finding one self in a distinctive time and place so much so you sometimes find it difficult to believe that you're watching a mere film and genuinely believe you're stuck in the time zone it's set . Then suddenly the social realism of the film starts over doing things a little and the hyper realism starts detracting from the reality

There does tend to be an element of British cultural bourgeois mind set called " The cult of the proletariat " . By this I mean the bourgeoisie have an instinctive intrigue of all things relating to the lower working class environment but have a dread of ever experiencing it . It's no coincidence that protagonist John McGill is academically gifted and instead of pursuing the academic dream of attending University starts descending in to a path of crime and self destruction . There's no convincing incitement for any of this and the fact McGill could have been someone instead of a no one is quickly forgotten . All this gives the impression that McGill's life is a Shakespearian tragedy

From a technical point of view there's absolutely nothing wrong with Mullen's film and shows what can be achieved with a small budget . It's superbly and convincingly acted by everyone especially by Conor McCaron as John McGill . The problems lie in exaggeration . When the film was released Mullen was on record as saying what violent times the 1970s were and he's not wrong . The strap was commonly , perhaps too commonly used by teachers at school but yet would you ever hear a teacher swear ? The dialogue might be authentic but the Glasgow vernacular constantly using the F word and the C word and ending nearly every spoken line with " Man " will make it very difficult for a non working class Scottish audience and one suspects the working class Scottish proles may not be the target audience