Snow in Paradise

Dave has aspirations to be a player in the London gangland scene. He brings his mate Tariq along on his first big job, partly to help Tariq out, possibly to massage his own narcissistic ego. The decision to involve Tariq has deadly consequences. Despite the attempt to present Islam in a positive light, and the psychotic nods to Requiem For A Dream, this film is basically just more cockneys on crack waving guns. The Curzon Film World DVD minimalist functions (e.g no extras) further destroys the experience by having no subtitles. The Mockney 'nahfink dahn ma san' dialogue could certainly benefit from them, especially when the soundtrack starts up in tandem with dialogue. One key exchange, when Dave confronts his Uncle Jimmy while carrying a concealed knife, is impossible to hear. Dave seems to want to be a player but makes an elementary, idiotic mistake on his first job. He ridicules Islam but converts a nanosecond later. The last shot too deliberately opts for non-resolution. It feels like Guy Ritchie directing an extended episode of Minder. That is not a compliment.

We meet our protagonist, Dave when he starts off as an transporter of wholesale quantity illicit drugs for a firm. The job pays very well and Dave who is far more accustomed to being 'skint' than 'flush' is not sure what to do with his newfound riches. Dave helps himself to liberal samples of the wholesale product he transports while also buying other brands of artificial joy to supplement. We discover that Dave has a moderation problem. But business is booming and Dave brings in his friend, who also happens to be ethnic, to share the wealth. Trouble is, the tight-nit corporate culture Dave is a part of does not really celebrate ethnic diversity. This poses greater problems down the road. As business picks up, so do Dave's responsibilities where he is promoted to also administer penalties to 'delinquent clients'. This promotion leads to an awakening of sorts within Dave as he discovers he has something called a conscience. Not just any conscience it seems, rather one that wreaks havoc on par with the Incredible Hulk on a tantrum. Immediately Dave attempts to bludgeon his conscience through upping his dosages of wholesale product and other substances in a bender that would put frosh week students to shame. But Dave's conscience also has the power, strength, and the resilience of The Incredible Hulk and will not be vanquished. Dave runs to a local mosque that his little ethnic friend frequents in a desperate bid to satiate his conscience. Yet when our protagonist sees and listens to the worshippers, he dismisses the lot as 'brainwashed'. That is, until Dave encounters the dark night of his beleaguered soul and feels he has nowhere left to run. We then have what writer William Faulkner phrases as, 'the heart in conflict with itself', torn between the rending demands of the material world and ravenous desire for inner peace.

Snow in Paradise is a debut film by Andrew Hulme based on the memoirs of actor/co-writer Martin Askew. Hulme already has a distinct style, the 'claustrophobia-inducing up-close-and-too-personal camera framing' such that the odd wide shot allows the audience to gasp for air and lower her/his pulse. Ernest Hemingway may be an influence because the film intimates that there is not snow, but an iceberg in paradise where the audience gets the tip and the rest of the story is beneath the waters. Symbolic hints point towards a larger, darker story and Hulme is not big on exposition, rather leaving the audience to flail or tread for answers. We even have a boxing scene that would do Papa Hemingway proud. The cinematography is accomplished and clean, clinical almost. Yet most striking is the music score, or rather, the lack of it. Sparse plucks from a bass during intense scenes, but mostly silence so the audience can reflect on what is happening instead of music directing emotion. Hulme is no spring chicken when it comes to the film, having edited for such directors as Anton Corbijn (Control, The American) and Julian Jarrold (Red Riding: The Year of Our Lord 1974). Like Daniel-San from The Karate Kid, Andrew Hulme has 'waxed-on', 'waxed-off' for decades and is now ready to crane-kick his way into film goers hearts, though the fare he offers is a tad bleak.

First off, this movie is not going to be for everyone and probably not most people. I am big fan of British indie crime dramas so obviously I was excited to watch this film. The script is focused on a young criminal and drug addict named Dave who was born into a life of crime. A series of events leads him to rethink his life and the people he chooses to call family.

The acting, directing and cinematography saved this movie, because the script could have been stronger... although not totally disappointing. All the actors played their roles well with an exceptionally strong performance from the film's lead. The setting of the movie in dreary London added to film's character and appeal. The cinematography was difficult to watch at times due it's drug induced scenes and flashbacks conveying Dave's mind on drugs. This type of cinematography/editing will be tough for most to watch who cannot appreciate the art behind it; somewhat reminiscent of a Requiem for a Dream. At times, I could really feel the whirlwind inside the mind of Dave.

This is not an enjoyable feel good movie by any means, but does give you a glimpse into a life of person who feels his life is at the end of the road at such a young age. Is there a way for this young man to find peace after all? Overall, a solid indie flick that will appeal to those who enjoy the darker side of filmmaking.

The synopsis of this indie film is that our main man, Dave, is a petty criminal who works for his rather unsavoury uncle – Jim. He does this by running errands and being a lower rank foot soldier. He also likes a taste of the goods now and then too as it's always drugs in with crime. He has a best mate in Tariq – who says 'Bruv' at the end of nigh on every sentence which becomes more annoying than a car alarm.

Well Dave messes up and Tariq pays the price – then in a pique of remorse Dave runs off and discovers Islam; but the past was always going to catch up with him. Now despite that synopsis the Islam part is actually downplayed and is only one of the many facets that go to make this film actually work. The acting is all very strong Martin Askew as Uncle Jimmy is completely terrifying and actually co-wrote this too. The camera work is very good and tries really hard to have art-house shots and it pulls it off convincingly.

There is some violence and it is nasty but it is very tastefully done – in that it is mostly off screen. Many indie crime Brit films have been of poor quality lately this I am glad to say is one that raises the bar and shows what can be done with a decent script and a committed group of actors.

Excellent film - wish there was more in this crime thriller featuring such awesome characters in the mix. Good to see Dan Burman in this flick! Good camera work and lighting as well.