After researching Warp Films and finding out all about Chris Cunningham's work i have come to the conclusion that he is a bit of a creative genius. his work albeit very disturbing and viewed by many people as disgusting has really appealed to me as I am thoroughly intrigued by the gothic, hideousy that is found in nearly all of Chris Cunningham's work, also i am really intrigued by all the cultural, social and political issues he manages to pack into every single piece of work he does. I love it!
Take this music video he made for Aphex twin called 'Come to Daddy' is one of my favorite pieces of his work, due to the gothic images that are really original and the hidden messages and stereotypes, like the old lady having a pit bull which is not the usual species of dog that an old lady would have; smashing the stereotypes of the elderly and of the 'hard man' dog that have a tendancy to be quite brutal. On top of this the little children are shown as out of control thugs just like the popular phrase 'I blame the kids' suggests. However the images of a middle aged creepy man's face suggest that blaming tennagers or children is not always correct and often that the blame should be put on the older generations. in addition to this the faces that are all the same but with different bodies gives the video and especially freaky feeling which Chris Cunningham was aiming for.
I found this one paragraph about the 'Come to Daddy video that captures its essence and meaning perfectly (http://www.director-file.com/cunningham/aphex1.html):
'Its nature as a Richard D. James piss-take aside, Chris Cunningham's "Come to Daddy" is, as it was ten years ago, the story of technology and how we are becoming it. In the video, the faces of Aphex Twin chuckle at us with the same soullessness that occupies the man in the television. When he is borne of that television, we discover him to be a product of his environment: a vaporless void, a mere reflection. He has no soul, and he wants ours. And he is asking us to gather 'round and worship him.'
Come to Daddy was named the 3rd best video of all time in a January 2005 by a poll by The Guradian. As of 2003, the Warp releases of Come to Daddy and Windowlicker together sold 90,000 copies. This immense popularity may have been an aftermath of the controversy it caused; it was banned from showing on any music channels on television till past the watershed and was marked by many people as being grotesque ans should be banned totally, this and also the fact that this video is just very good!
Showing posts with label G322B Film Industry. Show all posts
Showing posts with label G322B Film Industry. Show all posts
Tuesday, 27 January 2009
Warp Films
Information gained from: http://www.warpfilms.com/#page=AboutPage
Warp Films has created some of the most exciting pieces of British film making in the last five years. It has won numerous plaudits and awards (including three BAFTA’s) since being set up in 2002.
'My Wrongs 8245-8249 and 117' was Warp’s first short film and was directed by Chris Morris. It won the BAFTA in 2003 and for its television premiere on Channel 4, more than one million viewers tuned in to watch it. Warp sold an astounding 22,000 DVDs of My Wrongs and was the first DVD single in the UK market.
Warp's debut feature 'Dead Man's Shoes', directed by Shane Meadows, received a record eight British Independent Film Award nominations, including Best Film, Best Director and Best Achievement in Production. ‘Dead Man’s Shoes’ was also nominated for a BAFTA and won the Southbank Award for Best Film. The film has received nothing less than rave reviews across the board, and is being hailed by some as a landmark in British cinema.
Chris Cunningham directed Warp's next film, Rubber Johnny, –an experimental short and 42-page book that shocked and amazed audiences.
Following Rubber Johnny Warp made the critical success 'Grow Your Own', a film written by Frank Cottrell Boyce (24-Hour Party People), which tackled the subject of immigration.
In 2006 Warp made their most successful production to date: 'This is England', the story of Shaun, a boy who is befriended by a local skin-head gang after his father is killed in the Falklands war. With its evocative soundtrack, dazzling young star and emotive content it has won numerous international festival awards as well as scooping Best Film at the British Independent Film Awards and Best British Film at the BAFTA’s. At the same award ceremony Warp collected its third BAFTA as Paddy Considine's directorial debut 'Dog Altogether' won best short.
Warp Films has also worked closely with the Arctic Monkeys, producing two music videos for them and collaborating on the short film 'Scummy Man' starring Stephen Graham, which won best music video at this year's NME awards. Richard Ayoade has recently directed a feature length live show film with of them. Shot at their final concert of a world tour.
Warp Films' development slate currently includes projects with directors Shane Meadows, Chris Morris, Chris Cunningham, Richard Ayoade, David Slade and Lynne Ramsay. They are also dedicated to seeking out new voices; this goal is reflected in their recent ventures into promo making and the new digital slate, Warp X.
Warp Films Include:
Production Company
1. Four Lions - (2009)
2. Arctic Monkeys at the Apollo - (2008)
3. Crack Willow - (2008)
4. “Fur TV” - (2008)
5. Exhibit A - (2007)
6. Dog Altogether - (2007)
7. Grow Your Own - (2007)
8. Dog’s Mercury - (2006)
9. This is England - (2006)
10. Scummy Man - (2006)
11. Rubber Johnny - (2005)
12. Dead Man’s Shoes - (2004)
13. My Wrongs 8245-8249 and 117 - (2002)
Distributor – Filmography
1. Arctic Monkeys at the Apollo - (2008)
2. Cinema16: American Short Films – (2006)
3. Rubber Johnny – (2005)
4. My Wrongs 8245-8249 and 117 – (2002)
Warp films also funded ‘The Englishman’ in 2007, and supported ‘The Work of Director Chris Cunningham.
Warp Films purpose in the British Film Industry
Warp Films is very small company focusing on producing new innovative, controversial features that involve new talent from the film and music industry. ‘Scummy Man’ (both parts shown above) is a perfect example of this as it is a short film inspired by the Arctic Monkeys song ‘When the Sun Goes Down’ and stars the relatively unknown actors Lauren Socha and Stephen Graham. This controversial short film involves prostitutes, differing accounts of rape, violence, drugs and the things that go on in today’s society that none of us like to think of. The short production would be extremely dire without the added notion of faith left in human nature and a Jock the taxi driver that tries to help Nina (Lauren Socha) out with money and food. In short Warp films is here to support British films that are trying to make a political or social statement of some sort, these types of quirky films appeal to wide British audience, whilst integrating and developing existing talent, on top of discovering new, interesting, intriguing talent.
These films appeal to a wide British Audience as they tackle the problems in our society and politics at the time; also it is always nice to see the young acting and filmmaking talent that comes from our country. In addition to this they are all filmed in this country in so doing making the viewers recognise the culture and relate to the characters of the story making the watchers feel stronger emotions towards the characters as they will understand the images and ideology being shown to them.
Chris Cunningham and Warp Films
Biography
Chris Cunningham - one of the most influential filmmakers of the last decade - has been at the forefront of innovation and an inspiration for technological boundary-breaking world wide.
Cunningham first forged his relationship with Warp Records in 1995 with his debut promo Second Bad Vibel for Autechre, and since has directed a score of mind-bending videos for the likes of Squarepusher, Bjork, Madonna, Portishead and most memorably, Aphex Twin.
The creepily hilarious Come to Daddy (1997) and bootilicious Windowlicker (1999) Aphex videos have both been showered with accolades, but deemed too darkside for daytime MTV. However, his delicate hand on Bjork's All is Full of Love (1999) sensual, milky robot promo won him the best breakthrough video MTV award and a Grammy nomination, as well as 4 silvers and the first ever Gold Award for a music video at the Design And Art Direction Awards.
Cunningham's film making successes followed on from an accomplished career in feature films. He learnt his craft as an FX sculptor, designer and engineer on numerous feature films, which included working for David Fincher, Clive Barker and Stanley Kubrick.
In 2000, Cunningham created a video art installation flex for the Royal Academy of Art's Apocalypse exhibition. His next two short films with Warp Films, Rubber Johnny and Spectral Musicians are scheduled for release on DVD in 2005.With much anticipation from his legion of fans, Cunningham is finally turning his attention to feature films and is currently developing a feature length script with Warp Films.
Africa Shox
The music video created by Chris Cunningham for Leftfield feat. Africa Bambaataa is exemplary of his work due to the unusual content and the hidden agendas. The themes of this video are quite similar to that of ‘This is England’ produced by Warp Films, for both have stereotypes; the skin heads in ‘This is England’ and the emaciated figure of the African man and the urban ‘gangsters’ break dancing in ‘Africa Shox’. Also the idea of being lost is recurrent in both videos, however in ‘This is England’ the little boy is put back on his feet again by the Skinheads and is adopted into their family, whereas in ‘Africa Shox’ the African man is put back on his feet again when he fell smashing his only remaining hand, but no one helps him find his way home or helps him; everyone just stares. ‘This is England’ goes against the typical thoughts about Skinheads being stupid, violent, thugs and adapts them into a loving family just looking out for one another and their country. On the other hand ‘Africa Shox’ depicts the entire city as being out for itself and unconcerned about others only themselves.
To find the video 'Africa Shox' go to: http://www.youtube.com/watch?v=KvxbFWY2Hsc
G322 B Institutions and Audiences Case Study on “This is England” and Warp Films
Warp Films has created some of the most exciting pieces of British film making in the last five years. It has won numerous plaudits and awards (including three BAFTA’s) since being set up in 2002.
'My Wrongs 8245-8249 and 117' was Warp’s first short film and was directed by Chris Morris. It won the BAFTA in 2003 and for its television premiere on Channel 4, more than one million viewers tuned in to watch it. Warp sold an astounding 22,000 DVDs of My Wrongs and was the first DVD single in the UK market.
Warp's debut feature 'Dead Man's Shoes', directed by Shane Meadows, received a record eight British Independent Film Award nominations, including Best Film, Best Director and Best Achievement in Production. ‘Dead Man’s Shoes’ was also nominated for a BAFTA and won the Southbank Award for Best Film. The film has received nothing less than rave reviews across the board, and is being hailed by some as a landmark in British cinema.
Chris Cunningham directed Warp's next film, Rubber Johnny, –an experimental short and 42-page book that shocked and amazed audiences.
Following Rubber Johnny Warp made the critical success 'Grow Your Own', a film written by Frank Cottrell Boyce (24-Hour Party People), which tackled the subject of immigration.
In 2006 Warp made their most successful production to date: 'This is England', the story of Shaun, a boy who is befriended by a local skin-head gang after his father is killed in the Falklands war. With its evocative soundtrack, dazzling young star and emotive content it has won numerous international festival awards as well as scooping Best Film at the British Independent Film Awards and Best British Film at the BAFTA’s. At the same award ceremony Warp collected its third BAFTA as Paddy Considine's directorial debut 'Dog Altogether' won best short.
Warp Films has also worked closely with the Arctic Monkeys, producing two music videos for them and collaborating on the short film 'Scummy Man' starring Stephen Graham, which won best music video at this year's NME awards. Richard Ayoade has recently directed a feature length live show film with of them. Shot at their final concert of a world tour.
Warp Films' development slate currently includes projects with directors Shane Meadows, Chris Morris, Chris Cunningham, Richard Ayoade, David Slade and Lynne Ramsay. They are also dedicated to seeking out new voices; this goal is reflected in their recent ventures into promo making and the new digital slate, Warp X.
Warp Films Include:
Production Company
1. Four Lions - (2009)
2. Arctic Monkeys at the Apollo - (2008)
3. Crack Willow - (2008)
4. “Fur TV” - (2008)
5. Exhibit A - (2007)
6. Dog Altogether - (2007)
7. Grow Your Own - (2007)
8. Dog’s Mercury - (2006)
9. This is England - (2006)
10. Scummy Man - (2006)
11. Rubber Johnny - (2005)
12. Dead Man’s Shoes - (2004)
13. My Wrongs 8245-8249 and 117 - (2002)
Distributor – Filmography
1. Arctic Monkeys at the Apollo - (2008)
2. Cinema16: American Short Films – (2006)
3. Rubber Johnny – (2005)
4. My Wrongs 8245-8249 and 117 – (2002)
Warp films also funded ‘The Englishman’ in 2007, and supported ‘The Work of Director Chris Cunningham.
Warp Films purpose in the British Film Industry
Warp Films is very small company focusing on producing new innovative, controversial features that involve new talent from the film and music industry. ‘Scummy Man’ (both parts shown above) is a perfect example of this as it is a short film inspired by the Arctic Monkeys song ‘When the Sun Goes Down’ and stars the relatively unknown actors Lauren Socha and Stephen Graham. This controversial short film involves prostitutes, differing accounts of rape, violence, drugs and the things that go on in today’s society that none of us like to think of. The short production would be extremely dire without the added notion of faith left in human nature and a Jock the taxi driver that tries to help Nina (Lauren Socha) out with money and food. In short Warp films is here to support British films that are trying to make a political or social statement of some sort, these types of quirky films appeal to wide British audience, whilst integrating and developing existing talent, on top of discovering new, interesting, intriguing talent.
These films appeal to a wide British Audience as they tackle the problems in our society and politics at the time; also it is always nice to see the young acting and filmmaking talent that comes from our country. In addition to this they are all filmed in this country in so doing making the viewers recognise the culture and relate to the characters of the story making the watchers feel stronger emotions towards the characters as they will understand the images and ideology being shown to them.
Chris Cunningham and Warp Films
Biography
Chris Cunningham - one of the most influential filmmakers of the last decade - has been at the forefront of innovation and an inspiration for technological boundary-breaking world wide.
Cunningham first forged his relationship with Warp Records in 1995 with his debut promo Second Bad Vibel for Autechre, and since has directed a score of mind-bending videos for the likes of Squarepusher, Bjork, Madonna, Portishead and most memorably, Aphex Twin.
The creepily hilarious Come to Daddy (1997) and bootilicious Windowlicker (1999) Aphex videos have both been showered with accolades, but deemed too darkside for daytime MTV. However, his delicate hand on Bjork's All is Full of Love (1999) sensual, milky robot promo won him the best breakthrough video MTV award and a Grammy nomination, as well as 4 silvers and the first ever Gold Award for a music video at the Design And Art Direction Awards.
Cunningham's film making successes followed on from an accomplished career in feature films. He learnt his craft as an FX sculptor, designer and engineer on numerous feature films, which included working for David Fincher, Clive Barker and Stanley Kubrick.
In 2000, Cunningham created a video art installation flex for the Royal Academy of Art's Apocalypse exhibition. His next two short films with Warp Films, Rubber Johnny and Spectral Musicians are scheduled for release on DVD in 2005.With much anticipation from his legion of fans, Cunningham is finally turning his attention to feature films and is currently developing a feature length script with Warp Films.
Africa Shox
The music video created by Chris Cunningham for Leftfield feat. Africa Bambaataa is exemplary of his work due to the unusual content and the hidden agendas. The themes of this video are quite similar to that of ‘This is England’ produced by Warp Films, for both have stereotypes; the skin heads in ‘This is England’ and the emaciated figure of the African man and the urban ‘gangsters’ break dancing in ‘Africa Shox’. Also the idea of being lost is recurrent in both videos, however in ‘This is England’ the little boy is put back on his feet again by the Skinheads and is adopted into their family, whereas in ‘Africa Shox’ the African man is put back on his feet again when he fell smashing his only remaining hand, but no one helps him find his way home or helps him; everyone just stares. ‘This is England’ goes against the typical thoughts about Skinheads being stupid, violent, thugs and adapts them into a loving family just looking out for one another and their country. On the other hand ‘Africa Shox’ depicts the entire city as being out for itself and unconcerned about others only themselves.
To find the video 'Africa Shox' go to: http://www.youtube.com/watch?v=KvxbFWY2Hsc
Tuesday, 9 December 2008
Women in film...
Surfing the internet one day, i encountered a great website about women in the film industry, i am afraid that it only focuses on German cinema and people but it does however bring up many good points about difficulties that face women in cinema today: http://blogs.warwick.ac.uk/michaelwalford/tag/women_and_film/
Wednesday, 3 December 2008
Thursday, 27 November 2008
This is England: Case Study
‘This is
Certification and Reasoning
This Is England is certified as an 18 due to the content of rude and vulgar language, in particular the word ‘cunt’ which is the strongest word in the English vocabulary, and also the re-occurring themes of strong racist abuse, such as the scene in which Shaun repeatedly calls a Pakistani shop owner a ‘paki’ and then the group pull a switchblade on him. There are also scenes of sexual and violent content, for example the scene in which a 16 year old girl asks Shaun whether he would like to ‘suck her tits’. Shaun Meadows was very upset with this certification as he felt that the most important group to watch the film would be teenagers between the ages of 12-18, however with the certification of 18 this group was clearly ineligible.
Locations
The film was shot in three main locations. These were:
-Cleethorpes,
-Nottingham,
-RAF Newton, Nottingham,
Company Credits
The production companies to the film were:
-Big Arty Productions
-EM Media
-Film4
-Optimum Releasing
-Screen
-Warp Films
All of these companies have produced other famous British films and/ or other films by Shane Meadows. Big Arty Productions have in particularly worked closely with Meadows, producing seven of his ten films (Where’s The Money, Ronnie? – 1996, Small Time – 1996, A Room for Romeo Brass -1999, Once Upon a Time in the Midlands – 2002, Dead Man’s Shoes – 2004, Northern Soul – 2004 and This Is England – 2006)
EM Media have also worked with Meadows on two other occasions excluding This Is England (Once Upon a Time in the
-Bride and Prejudice (2004)
-Valiant (2005)
-The Constant Gardener (2005)
-Severance (2006)
-The Last King of
-Venus (2006)
-Notes on a Scandal (2006)
-Brick Lane (2007)
Meanwhile Film4 also have an impressive list of successful British films:
-The Last King of
-Venus (2006)
-Brick Lane (2007)
-In
-Happy-Go-Lucky (2008)
Distribution
These were the distributors of the film:
-IFC Films (2007) (
-IFC First Take (2007) (
-Iae (2009) (
-King Record Co. (2009) (
-Madman Entertainment (2007) (
-NetFlix (2007) (
-NonStop Entertainment (2007) (
-Optimum Releasing (2006) (
-Red Envelope Entertainment (2007) (
-Sandrew Metronome Distribution (2008) (
User Comments and User Rating: From http://www.imdb.com/title/tt0480025/usercomments
A great British film - or should that be English?, 29 April 2007
******** 8 stars
Author: Andrew Marshall from
There is no doubt that this film is a truly great piece of film-making. Shane Meadows crafts films in the same style as Martin Scorcese. We are given a glimpse into the lifestyle of a group of characters over a short period of time. It is very much a fly on the wall type of movie. The point of these films is to understand the actions of the characters rather than judging their actions. I have no doubt that there will be some people that tag this film as being racist which is rather missing the point.
The film follows Shaun a 12 year old being brought up in early 80's
I was gripped throughout the film and it also gave me plenty to think about afterwards. What more can you ask for when going to the movies? I suppose if you go to the movies for escapism then go watch something else, but if you want a gripping thought provoking drama then it doesn't come much better than this. Outstanding!
Skins in Thatcherland, 19 August 2007
******** 8 stars
Author: Stensson from
The skinhead culture fascinates many directors and it's understandable. It's one of the few remaining subcultures in the West, much because of the Nazi connections.
But the skins in this movie aren't political and no racists to start with. One of the gang members is even black. They live in a happy community in the early 80s, having fun and being together in a totally grey unfriendly working class environment. It's very hopeful and the 12-year-old finds himself accepted for the first time in his life. His longing for the dead father of the
But darkness arrives with the skin veteran who comes back from jail. And there are conflicts between the racist fraction and the others. But whatever this is, it's not black and white. The characters are much more complicated.
Much has been said about young Thomas Turgoose as the 12-year-old. He's very good but the great portrait is by Stephen Graham as the old/new gang leader. Absolutely brilliant work.
Best film of the Berlin Film Festival 2007, 14 February 2007
********** 10 stars
Author: dePaoli from
I just saw "This Is England" at the Berlin Film Festival where it was screened in the section "Generation 14P". This section is an extension of the former "Kinderfilmfest" for teenagers between 14 and 18 - dealing with more mature issues.
I had no clue about it, just that it would be about skinheads in
When I left the theater I was absolutely stunned! Cast and script were outstanding. I loved the rough editing and grainy camera style that made the movie look a real 80s flick! And last but not least: the soundtrack is a blast! And coming from a director who used to be part of the real scene, it might be the most authentic picture about skinheads ever made.
Although it didn't get as much attention as the
Shane Meadows...is a genius!, 27 April 2007
********** 10 stars
Author: nextlevel from
Man oh man, I haven't been blown away by a movie since American History X.
I won't go into the detail of this, I really advise you to watch this movie.
It's hard hitting and gripping, right from the very beginning. Magnificent performances from relatively unknown actors. He did it with Dead Man's Shoes, he's gone and done it again.
I'm a British/Pakistani and wasn't offended a single bit, and there is lots of violence and racism but nothing that isn't expected if you’re not narrow minded. This is a brilliant British movie, and I'm sure now Meadows will finally get the credit he deserves.
Shane Meadows, come forward. Take a bow.
Expected a Lot More., 12 July 2007
***** 5 stars
Author: cornisle1 from
After seeing Meadows' previous efforts I was expecting great things from this film. It starts off well, the 1980s setting really shining through. But as soon as the young lad joins the skinheads it's just too unbelievable, expecting the audience to accept the plot developments as normal human interaction. For instance, the romance of a pre-pubescent boy with a girl of at least 16, and it remains unquestioned by all as if it's normal. The acceptance of the lad's mother of her 12 year old son joining a gang of older, smoking and drinking skinheads. None of it rings true. Meadows has made much in the publicity of this film stating that skinheads weren't all racist NF thugs, but in the film there are only a couple of them who don't immediately jump in with Combo and his NF mates. There just isn't much plot development, Woody starts off as one of the main characters but as soon as Combo turns up is hardly seen at all.
Very disappointing. This and "Once Upon A Time In The Midlands" are leading me to question whether Meadows can be as consistently talented as I was hoping he would be.
I seem to be the only one who thought this was rubbish!, 11 September 2007
*** 3 stars
Author: (siblancomusic) from
The mood of this movie is pretty good and it captures the feel of the 80's well with some good performances.
However.....
The script is run of the mill with the exception of a couple of comedic moments and comes off as being weird where I expect it was intended to be edgy. The characters are totally over dramatized and unbelievable and full of right wing clichés that the script writer probably saw watching a panorama documentary on the national front. The biggest problem is this movie has no real story. It ticks all the right "arty" boxes but nothing actually happens and at the end you are left wondering what the point was.
Very disappointing
A highly overrated film. (Only minor spoilers.), 17 September 2007
*** 3 stars
Author: pib and pob from
I watched this film last night with anticipation, but really wasn't very impressed.
With the exception of 'Combo', I thought the acting was poor and the narrative was limited. It came across like a 'made for TV' drama.
I felt that the film was very contrived. The whole set up of hammering in the context at the start (yes, we get that this is 80s Britain - you can stop now) was tiresome, and gave a very one-sided view of what life was like in 80s Britain - poverty, war juxtaposed with royalty, Margaret Thatcher, yet nothing in between? There were actually middle-classes who existed back then - just ordinary working people, with a decent wage and a mortgage. The
The sequence of events felt a tad disjointed, as the characters moved one one action to the next without us seeing how their mindset could've changed so quickly.
The relationship between 'Shaun' and 'Smell' was toe-curling. I couldn't even look during the snogging scene. I find it very hard to believe that she would've been attracted to a boy who was not only so much younger, but also looked so much younger. I know there were only four years between them, but four years is nothing once you reach your twenties, yet it's a huge difference in your teens! In my experience, that kind of teen age difference only occurs when the girl is the younger one, since girls mature so much quicker, and are more on the wavelength of boys a few years older. Sorry, but I didn't buy it - an unnecessary plot point created for shock value.
The ending was somewhat abrupt and, again, contrived. If the flag throwing incident was supposed to be iconic, then it fell somewhat short in my eyes.
It bugs me that British films only concern themselves with either the upper classes or the poverty-stricken. Don't get me wrong, I love Trainspotting, and Four Weddings has its charms, but can't we Brits come up with anything different? Why are our films always so hung up on the class system? I was born in 1973, so wasn't much different in age to 'Shaun' would've been in 1983. I grew up in a single parent family on a fairly down-trodden council estate in a city in
The bottom line is that I felt this film lacked substance, and I was completely bored and unimpressed throughout.
These reviews suggest that there were a mixture of reactions to the film, however an overall user rating of 7.9 (as voted for by 19, 276 people) shows that generally it received a positive response. The fact that two of the most positive user comments were written by a German from
Reviews:
Trying to rehabilitate the public image of skinheads is no easy task. Judging by
Meadows, who admits to once being a "skin" himself, argues that skinheads were amongst Britain's first anti-racists, mixing with newly arrived waves of West Indian immigrants with whom they indulged a mutual love of reggae and ska. Hailing from a staunchly working-class background, Meadows, 35, dropped out of school as a teenager and later made his first films while subsisting on welfare benefits in his native
Meadows contends that it was only during the 1980s that the skinhead movement became infected by the Far Right, a collection of neo-fascist political parties, led by the infamous National Front, which called for the forced repatriation of immigrants. With the decline of British manufacturing and the onset of high unemployment, many working-class skins, whose communities bore the brunt of the new arrivals from abroad, became seduced by the promises of anti-immigrant politicians.
So begins Meadows' film, set in Uttoxeter, the heart of
Shaun (played the excellent actor Thomas Turgoose) is a solitary 12 year-old who, when not being teased about his oversized bell-bottoms, has taken to wandering by himself on a deserted beach ever since the death of his father in the Falklands War. He meets Woody — the friendly head of a local skinhead gang who take Shaun under their wing — and suddenly life starts looking up. Shaun collects friends and protectors, has fun smashing up derelict houses and even scores an older girlfriend.
Meadows' lingering camera shots over the local school playground filled with different gangs — Mods, Rockers, New Romantics — gives an anthropological feel to his study, almost like watching a National Geographic documentary on British youth tribalism. But it's clear where Meadows' own working-class allegiance lies: following Woody's skins strutting through alleyways, apropos of Reservoir Dogs, in drainpipe jeans, checkered shirts and Doc Marten boots.
But the good times can't last. When macho skinhead Combo (played by a snarling Stephen Graham) turns up at a party, fresh out of jail, things are about to go awry. Quickly the alpha Combo sets about ousting Woody with a classic divide-and-rule speech about the need for "proud warriors" to defend
Typically, Meadows probes deeper than simple black-white characterizations, even eliciting a quiet sympathy for the fearsome Combo when, during an intimate conversation with Shaun, he hints at being abandoned by his own father. Nevertheless our gaze is averted when the once sweet-and-fragile Shaun starts to change, first daubing racist abuse around the town's walkways and then terrorizing a "Paki" newsagent in emulation of his new mentor. Our fears are confirmed: Shaun has been transformed into a neo-Nazi foot soldier in-the-making.
Throughout the film Meadows deals deftly with the cultural confusions of the skinhead movement, whose members' bedrooms — replete with vintage posters of blaxploitation flicks and ska-music icons — attest to the influence of foreigners, and of Jamaicans in particular.
Combo admits as much himself when he attempts to befriend the only black member of Woody's gang — the cheekily named Milky — reminiscing about how, when he joined the "original" skinheads back in the late 1960s, they all stood proud under the banner of racial unity. When Milky begins to talk about his extended family, Combo's eyes well-up. Half-ashamed, half-envious of what he misses most, Combo is poised on a knife-edge before the film turns toward its hideous, and inevitable, climax.
Drawing from a rich tradition of British cinematic realism, which includes directors like Ken Loach and Mike Leigh, the film has sparked controversy in its native land.
Meadows' attempt to humanize skinheads is a world away from the knee-jerk negative characterizations that informed cinema's previous depictions of the subculture as uniformly racist and violent. While it may be true that far-right parties no longer play any part in Britain's mainstream political discourse, other extremist movements are rising in Europe. And with the invasion of
British – The Guardian review by Peter Bradshaw
Shane Meadows continues his fast and fluent film-making career with this quasi-autobiographical picture about skinheads: a movie with hints of Alan Clarke's Made in
Meadows boldly attempts to reclaim the skinhead from the traditional neo-Nazi image, explicitly distinguishing his characters from a separate racist influence, and presenting them as an anarchic youth tribe that idolised West Indian music. He sees their susceptibility to the extremist right as a poignant and even tragic part of their fatherless culture, literally and figuratively orphaned by the times.
There's a winning lead performance from 13-year-old newcomer Thomas Turgoose playing a put-upon lad called Shaun in the run-down
The gang's leader is Woody - a cheerful, sparky performance from Joe Gilgun - and they have an African-Caribbean member facetiously nicknamed Milky, played by Meadows regular Andrew Shim; Shaun even finds romance with one of the group's girl-punk fellow travelers: a languid and rather elegant older woman called Smell (Rosamund Hanson) who earnestly explains to Shaun's mum that she is called that simply because it rhymes with Michelle. The idyll is soon destroyed with the highly unwelcome appearance of Combo, a ferocious and sinister skin warrior just out of prison, played by Stephen Graham. He demands the group join his National Front cell, and turn out for an NF meeting in a tatty pub, addressed by one of the movement's suit-wearing officer class, played in cameo by Frank Harper.
Turgoose is the picture's heart and soul, and it's a terrifically natural, easy and commanding performance. Turgoose's open face radiates charm, and then, when he goes over to the dark side of racism, a creepy, anti-cherubic scorn: almost like one of the little blond kids in Village of the Damned. But Meadows is always concerned to preserve a sympathetic core to Shaun, and in fact to all the skins. Even the deeply objectionable Combo is shown to be suffering from emotional pain.
Like Meadows' earlier pictures, Dead Man's Shoes and A Room for Romeo Brass, This Is England is about younger, vulnerable figures being taken under the wing of older, flawed men, and this personal theme here finds its richest and maturest expression yet. As to whether we should buy its implied leniency about skinhead culture: that is another question. The West Indian influence is advanced as proof that skins were not necessarily racist: yet it can't cancel out Combo's hate campaign against South Asians, the "Pakis" who "smell of curry", a campaign which goes quite unchallenged or even unremarked upon by any of the skins, good or bad.
The skinhead identity is, after all, obviously supposed to be more aggressive than that of other tribes: I remember as a 10-year-old cowering on the terraces of Watford football club in the early 70s, as the Luton boot boys got stuck in, and my father grimly telling me that the reason they shaved their heads that way was so the coppers couldn't grab them by the hair. Whether or not that is true, it certainly made the wearer's head look like a big, third clenched fist. And it's still difficult to get a handle on them.
Meadows appears to want to find emotional truths behind the bravado, to find reasons for the male rage. It's a valid quest, and there are telling and touching moments, particularly between Turgoose and Rosamund Hanson. I found myself wishing that their love story could occupy more of the film, maybe for the same reason that the Shane Meadows film I have enjoyed most is the one his real fans loathe: the comedy Once Upon a Time in the Midlands. But from the get-go of this drama, it is obvious that things are heading only one way: towards a climactic flourish of violence, and it's a glum business wondering to whom and from whom this is going to happen. This is a violent subject, and these are violent people, and yet I couldn't help feeling that Meadows is, as so often, more comfortable with machismo than with the humour and gentleness which play a smaller, yet intensely welcome part of his movies. However agnostic I confess to still feeling about his work, there's no doubt that Meadows is a real film-maker with a growing and evolving career, and with his own natural cinematic language. When I think of his films, I think, for good or ill: this is English cinema.
Gold Standard:
According to the Gold Standard Rule 16 points in various categories are needed for a film to pass for tax relief, and also what defines a truly British film!
A Cultural Content | |||
A1 | Film Set in the | Yes | 4/4 |
A2 | Lead Characters Citizens or residents of the | Yes | 4/4 |
A3 | Film Based on British subject matter or underlying material | Yes | 4/4 |
A4 | Original dialogue recorded mainly in the English language | Yes | 4/4 |
B Cultural Contribution | |||
B1 | Film represents/reflects a diverse British Culture, British heritage or British creativity | Yes | 4/4 |
C Cultural Hubs | |||
C1 | Studio and/or location shooting/visual effects/special effects | Yes | 2/2 |
C2 | Music recording/audio post production/picture post production | Yes | 1/1 |
D Cultural Practitioners | |||
D1 | Director | Yes | 1/1 |
D2 | Scriptwriter | Yes | 1/1 |
D3 | Producer | Yes | 1/1 |
D4 | Composer | No | 0/1 |
D5 | Lead Actors | Yes | 1/1 |
D6 | Majority of Cast | Yes | 1/1 |
D7 | Key Staff: lead cinematographer, lead production designer, lead costume designer, lead editor, lead sound designer, lead visual effects supervisor, lead hair and make-up supervisor | Yes | 1/1 |
D8 | Majority of Crew | Yes | 1/1 |
Total: | 30/31 | ||
‘This is
Movie Connection:
The themes running throughout ‘This is England’ are of racism/ethnic hatred, emotional loss, misconceptions of stereotypes (Skinheads), bullying, gangs, grubby urban locations, prison, family and friend relationships, and political unrest. Other films with themes like this include, American History X – Skinheads/Gangs, Racism, bullying, relationships, prison etc.
Awards:
‘This is
In 2006 at the ‘British Independent Film Award’ it won the ‘Best British Independent film’ and ‘Most promising Newcomer (On Screen)’ for Thomas Turgoose. It was also nominated for ‘Best Director’ (Shane Meadows), ‘Best Screenplay’ (Shane Meadows), ‘Best Supporting Actor/Actress’ (Joseph Gilgun), ‘Best Supporting Actor/Actress’ (Stephen Graham), and ‘Best Technical Achievement’ (Ludovico Einaudi).
Also in 2006 at the ‘London Film Festival’ it won the ‘UK Film Talent Award’ for the Producer Mark Herbert.
In 2007 at the ‘Bangkok International Film Festival’ the film was nominated for the ‘Golden Kinnaree Award’ (Best Film).
On top of this it was also nominated for the ‘Grand Prix’ award at ‘Flanders International Film Festival’.
Also in 2007 it won the ‘Young Audience Award’ at the ‘Gijόn International Film Festival’.
In Addition to this it won the ‘Best Director Award’ at the Newport International Film Festival.
In 2008 ‘This is
At the ‘Empire Awards,
On top of this it was nominated for the ‘Best Independent Poster Award’ at the ‘Golden Trailer Awards’.
Also in 2008 it was Nominated at the ‘London Critics Circle Film Awards’ for ‘British Breakthrough in acting’ for Thomas Turgoose, ‘British Director of the Year’ for Shane Meadows, and ‘British Film of the Year’.
Finally in 2008 ‘This is
Other Shane Meadows Films:
Shane Meadows in comparison with someone like Steven Spielberg has been involved in making very few films and out of these films ‘This is England’ is by far his most popular and biggest film so far, however he has tried his hand at lots of different jobs like: Directing, Producing, Writing, Acting, Editing, etc. the full list of his other films can be seen below:
Director
This is
The Stairwell (2005)
Northern Soul (2004)
Dead Man’s Shoes (2004)
Once Upon a Time in the
A Room for Romeo Brass (1999)
24 7: Twenty Four Seven (1997)
Small Time (1996)
Where’s the Money, Ronnie? (1996)
Writer
This is England (2006)
The Stairwell (2005)
Northern Soul (2004)
Dead Man's Shoes (2004)
Once Upon a Time in the Midlands (2002)
A Room for Romeo Brass (1999)
24 7: Twenty Four Seven (1997)
... aka TwentyFourSeven
Small Time (1996/II)
Where's the Money, Ronnie? (1996)
Actor
Once Upon a Time in the
A Room for Romeo Brass (1999)
24 7: Twenty Four Seven (1997)
Small Time (1996)
Where’s the Money, Ronnie? (1996)
Editor
Northern Soul (2004)
Where’s the Money, Ronnie? (1996)
Producer
Small Time (1996)
Where’s the Money, Ronnie? (1996)
Cinematographer
Where’s the Money, Ronnie? (1996)
Outlets/Exhibition:
The film is currently out on DVD, and was shown recently on Channel 4 after the 9 o’clock watershed. When it was first released it was shown in the local area at an independent cinema called
Information collected from: http://www.imdb.com/title/tt0480025/
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