The Arbor

If you've seen Alan Clarke's wonderful 'Rita, Sue and Bob Too!' (UK 1986), you'll have some idea of what to expect from 'The Arbor'. "The Arbor" is a small part of the Buttershaw Estate in South Bradford where Clarke's film was set. Clarke's film was adapted from her own play by Andrea Dunbar, a 20 year-old single mother in 1982 when the play first appeared. She had written her first play also called 'The Arbour' when she was still at school and a third, 'Shirley', in 1986 before she died suddenly from a brain haemorrhage aged just 29.

Knowledge of 'Rita, Sue and Bob Too!' will only help a little, however. This film, 'The Arbour', is part inspired by but is not an adaptation of Dunbar's play. Instead it is a form of documentary about Dunbar and her personal legacy that turns out to be mainly about the equally difficult life of her first child, Lorraine.

The film is written and directed by Clio Barnard who has Bradford connections. She visited the Buttershaw estate in 2009 and interviewed members of the extended Dunbar family and some other residents. She then borrowed the idea of hiring actors to lip-synch the recorded interviews (in A State Affair, a play by Robin Soans about the Buttershaw estate, actors spoke the words of the people Dunbar knew). Scenes with the actors were shot on the estate and in a London studio. They were edited together with two other kinds of material – scenes from 'Rita, Sue . . .' and from arts and news programmes about Andrea Dunbar plus scenes from 'The Arbor' play, acted out on the 'green' on the estate.

So, what does it all mean? I'm honestly not sure. Technically it is very well put together. I found myself moved by several scenes. At other times I felt like I didn't want to watch. I think that my personal preference is for a social-realist drama, but I recognise that the approach here is very powerful. My only real problem was in the casting of George Costigan as one of the actors reading the words of one of the fathers of Andrea Dunbar's children. Costigan was 'Bob' in Rita, Sue . . . and I found this an intertextual step too far.

Clio Barnard has, I think, previously produced video installations and sometimes I felt that I was viewing an installation. I found the initial stages confusing as they moved backwards and forwards in time, but eventually the film developed a distinctive narrative line focusing on Lorraine and this made it more like a traditional documentary film.

The Arbor appears to be attracting audiences to the National Media Museum's cinemas. Bradford audiences will probably have a rather different take on the film than the London critics who celebrated its success in winning two prizes at the London Film Festival this week.

Location shots, real people, and actors are deployed in a seamless amalgam in this recollection of of the talented but short-lived alcoholic working-class playwright Andrea Dunbar, from Bradford, West Yorkshire. Filmmaker Clio Barnard first spent two years recording interviews with Dunbar's family and friends,. Then she staged actors lip-synching the interviews as monologues, sometimes in a group scene -- a technique known as "verbatim theater" that arguably works more seamlessly because of Bernard's use of filmed settings. Barnard also staged parts of one of Dunbar's plays out near "The Arbor," ther part of the Yorkshire housing estate where Dunbar grew up and of which her plays speak. This is also the name of Dunbar's first play. Another one, Rita, Sue and Bob Too, was made into a reportedly excellent film. After a while, thanks in part to the excellent editing of Ole Birekland, you don't know who's the real person and who's an actor (because vintage footage of the people is there too). This creates a kind of Brechtian "Alienation Effect" that paradoxically makes it all more real and memorable. In the course of compensating mentally for shifts of format and perspective, you wind up projecting yourself into Andrea Dunbar's world.

It's a tough trip. Dunbar grew up in the Butterfield Estates during the decline of the textile mills, writing her first play at fifteen. She was already experiencing the prevailing racism, alcoholism and domestic violence. Eventually, by the time she died at 29 of a cerebral hemorrhage, she'd had become a heavy drinker and had three children by three different fathers. The eldest, Lorraine, played here by the sad- eyed, insinuating Manjinder Virk, was a dark-skinned, pretty girl whose dad was of Pakistani origin. She was to write no plays, but otherwise would duplicate her mother's unfortunate model of children by different fathers, drug addiction instead of alcoholism, and imprisonment for the causing the death of her child by extreme negligence.

Editing is a key factor here, but all elements are so smoothly handled you become unaware of the many layers and modes at work. Over-titles identifying the main speakers when the first appear also help to create the desired confusion. In news footage where the family is interviewed after Andrea's first London success, her real dad bears a quite striking resemblance to the father in the staged play. At the play, many people, presumably current residents of the estates, stand around to watch -- another way boundaries are broken. Ronnie Schieb calls this "a must-see entry in the ongoing evolution of cinematic formalism," but this "formally inventive" and "socially revelatory" exploration, neither formal nor abstract in the playing out, never seems anything but real, down to the sometimes almost impenetrable accents of the recorded speakers whose voices flow through the scenes. Very good foreground and ambient sound contributes to the seamless effect, of course. Credit here to Dolby Digital sound designer Tim Barker and re-recording mixer Richard Davey.

There is a Rashomon-like aspect as one gradually watches Andreas's story unfold from multiple sources, including the various fathers of her children, and the most personal moments come with Lorraine's unfolding confessions. As Peter Bradshaw of The Guardian wrote about the film last spring, Barnard's "technique produces a hyperreal intensification of the pain in Dunbar's work and in her life," and this pain becomes most vivid as we realize that in Lorraine's life Andrea's tragedy "was replicated, almost genetically." Bradshaw makes another good point: Dunbar's story, and her success as a teenage playwright in Max Stafford-Clark's Royal Court, challenges a lot of what we assume about gritty realist theatre or literature from the tough north," because the plays are usually produced "by men whose gender privileges are reinforced by university." They become stories of how they got out. But Dunbar never got out.

The Arbor, Barnard's debut feature, got a raft of nominations at BAFTA and the London Critics Circle, and two actual awards, one at Sheffield's documentary festival (Innovation Award) and the British Independent Film award for Best Achievement in Production. It's not a cheerful watch, but it's a very compelling one and a remarkable accomplishment by Clio Bernard -- as well as by the principal actors, Manjinder Virk, Christine Bottomley, Neil Dudgeon, Monica Dolan, Danny Webb, Kathryn Pogson, Natalie Gavin, Jonathan Haynes, Jimi Mistry, George Costigan. Try as you may, you will not spot their lips out of sync.

The 94-minute The Arbor won Barnard a best new documentary filmmaker prize at 2010's year's Tribeca Film Festival. It will get a theatrical U.S. release by Strand in April 2011. Seen and reviewed as part of the San Francisco International Film Festival, April 2011.

I came to this film thinking that it was a documentary about the young writer Andrea Dunbar, who wrote the play (then film) Rita, Sue and Bob Too as well as a couple of other works before dying very young. I wasn't sure why I should be interested in her or her work but I had heard good things about the film (and had also seen Clio Barnard's previous short films) so I decided to give it a go. What I found was a film that wasn't really about Andrea Dunbar so much as it was the life of her mixed race daughter Lorraine.

In telling this story the film not only tells us about Lorraine's life but also gives us the context by filling in who her mother was (mainly from old BBC documentaries that Lorraine watches) but also shows us what the estate is like by enacting parts of her play on the estate. It is a very creative approach and the blend of documentary and drama compliments each other since the original play was so real as to be a documentary and the real story of their lives is so engaging that it could have been a scripted drama. The film captures this really well and the various sections and threads just fit perfectly together – you are being told about different people in different ways but it never feels like anything other than one story.

I didn't know any of this story so for me it really did impact to hear about the damaged lives coming out of this world (a world shown to us through the play). Assuming others do not know either, I will say no more on the content but it is brutal and saddening but rewarding thanks to how it is told. Much like her short films, Barnard approaches this as a documentary of real people telling stories but where in her shorts I think she hurt the films by having overly distracting images and cutaways as part of her design, here her visual content does nothing but add to the telling. Her "visuals" are actors lip-synching with the recorded word of the real people. The word "lip-synching" has negative connotations – it means pretending, faking it etc in regards music but here it is a great device. The actors not only hit their marks in regards the words, but they do so in a way where they make the words come alive. Virk is tragically brilliant and makes her character sympathetic without making excuses for her; she holds the attention and brings so much out in face and body. Gavin is great as the "girl" in the play – it is her role to help us understand the Dunbar not shown in the BBC interviews, and she does this really well. Down through the cast everyone delivers and they succeed despite the limits of not only the words they have to say, but the nuances and the timing of those words – the majority of the cast have little freedom to move but yet they deliver great performances.

Barnard was showered with praise for this film and rightly so. It is engaging in its telling of this brutal and fascinating family story and it is done with creativity. The blend of documentary and drama is really well done whether it is in the grand scheme of things or even in the smaller detail such as setting the play sections on the estate with people watching in the background. It is not a cheerful film but yet it is a very good one and it is very much worth seeing. I've had issues with some of Barnard's work before, but with this I have almost no reservations about it.

Andrea Dunbar was something of a child prodigy growing up on the underprivileged Buttershaw Estate in Bradford. Dunbar wrote her first play The Arbor, (named after the street on which she lived Brafferton Arbor,) at the tender age of 15. The play, which debuted at the Royal Court Theatre in 1980, depicts the turbulent life of pregnant teenager with a father who is an abusive alcoholic. In 1982 Dunbar wrote the follow up Rita, Sue and Bob Too! which was later turned into a film by the director Alan Clarke. By 1990, at just 29 years old, Andrea Dunbar was dead, killed by an apparent brain haemorrhage the talented author left behind three young children. Artist and filmmaker Clio Barnard's new biopic, also entitled The Arbor, attempts not only to tell Andrea's story but also that of her eldest daughter Lorraine, who was imprisoned in 2007 for the manslaughter of her son Harris.

A drama/documentary in the truest, and perhaps newest, sense of the phrase The Arbor utilizes archive footage culled from television documentaries such as Arena and Look North, an original technique where actors lip-sync to the voices of the real life participants in Dunbar's troubled life and impromptu performances of the author's work taking place on the Buttershaw Estate. Theoretically speaking this multi-layered approach sounds as if it might be somewhat confusing and imprecise in practice however it is a revelation being both innovative and inspiring. With a shifting timeframe and multiple story telling techniques the resulting film not only offers a detailed insight into the lives of Andrea Dunbar and her daughter Lorraine but also into that whole section society recently dubbed 'Broken Britain.' The film begins in the present day with Dunbar's two daughters Lorraine (Manjinder Virk) and Lisa (Christine Bottomley) telling of their childhood and formative years. These scenes, in which the actors address the camera and lip-sync their speech to actual voices of the people they are portraying are carried off with remarkable accuracy and have a haunting quality to them. It is as if the actors are channelling those involved from another time and place with a story yet to be told. The voices of the interviewees are filled with regret rather than anger at wasted opportunities and what might have been, there is also a great deal of understanding at the circumstances and pressures each of them have faced in the past.

Life has been particularly difficult for eldest daughter Lorraine growing up as a mixed-race child a predominately white estate she was racially abused on a daily basis for having a Pakistani father. Just 10 years old when her mother passed away Lorraine would later turn to prostitution to feed her drug habit. As her life quickly spiralled out of control she fell pregnant by one of her clients and struggled to bring up her child.

The documentary footage of Andrea Dunbar shows the author at home on the Buttershaw Estate where she continued to live until her untimely death. The semi-biographical nature of Dunbar's writing is obvious in the remarkable similarity between her own family and the characters of her creation. Given the present day world of celebrity these scenes, (in which fame appears to have been foisted upon an unassuming talent,) are reminiscent of the countless reality TV stars that are ill-prepared for the spotlight.

The scenes in which parts of Dunbar's plays that are acted out on the estate are excellent giving off the urgency and realism of the writing. As the current residents loiter in the background Natalie Gavin who plays the young Andrea enthusiastically explains her work to the camera before launching into another energetic performance.

At the conclusion of The Arbor Lorraine, who has now released from prison after serving 3 years for the manslaughter of her son, tells us that her life reflects many inhabitants of the Buttershaw Estate. Where once the social problems were those of unemployment, poverty and alcoholism the estate has deteriorated further becoming a ghetto of drug dealing, crime and disorder. Lorraine tells us that if her mother were to write Rita Sue and Bob Too! in the present day, "Rita and Sue would be smackheads." The lasting influence of Andrea Dunbar's writing can be found in modern British film and television not least in the television drama Shameless which depicts life on the Chatsworth Estate with a similar combination of bawdy humour and satirical knowingness. The Arbor's unusual but innovative approach to drama/documentary uncovers, like Dunbar's plays, the hardship and problems which lie at the heart of working-class Britain, (albeit in a completely different manner.) Exploring the life of a significant contributor to British working-class fiction The Arbor like Andrea Dunbar herself is too authentic and insightful to ignore.

I loved everything about this sad film.

The technique of post syncing shouldn't have worked, nor the acting of the play on the streets either, but they really do.

The pacing of the original interviews is very interesting,very steady. There is something marvellous about the way the accents are subtly yet profoundly different from those that actors generally impose, and knowing that these voices are those of the actual people was very moving.

Seeing the real people in what would normally have been flashback but in this case is views into a previous documentary really worked.

This is a very powerful story of a tragedy with very little joy. When I see Rita, Sue and Bob Too again, one of my favourite films and one that puts most other working class depictions into a cocked hat, I wonder what my mood will be.