Famous for his acting roles as "Graham Purvis" in Submarine, "Frank Thorogood" in Stoned and a supporting role as "Simon Ross" in The Bourne Ultimatum, it was in 2004 that Paddy Considine blew me away as "Richard" in Dead Man's Shoes.
All of the above films are heartily recommended, but his performance in Dead Man's Shoes is just stunning. Both Dead Man's Shoes and Tyrannosaur share a common bond, being that they both make me react as "Clarence" in Tony Scott's True Romance. To paraphrase, as I've used it in one of my earlier film blog's, I love film's that you immediately want to share your feelings and emotions and your experience of the film with someone close to you, to "go and eat some pie" and discuss the majesty of the film you've just watched. That's the film geek in me!
To date, Paddy Considine has directed just the one cinematic release and I was very lucky to see this during it's opening week. However, he has the proud honour(!) of kicking off my short series on new British Directors, with Ben Wheatley and Shane Meadows film blogs to follow. I hope you enjoy this appraisal of his one release to date, Tyrannosaur.
As with all of my film blog's, it is not my intention to provide endless spoilers, fact tracks or trivia. The Internet is awash with them if you need it! Rather, this is my blog, my appreciation of the Director, his art, and in this case, his first cinematic release. My blog's are personal and written purely from a fan's perspective and how I react to the film's themselves, their keys and theme's and of my enduring love for cinema.
Closing the shop, a smiling Hannah warmly asks "You feel better now?. Not ignoring Hannah, but not responding either, Joseph walks away to a smiling, cheery "Bye" from Hannah.
(Olivia Colman) Appears fresh faced, smiling and full of a zest for life who is a gentle kind soul with a deep religious fervour. Olivia Colman's performance is an acting master class and fully deserving of the slew of awards she garnered. Similar to Joseph above, the camera also never wavers from Hannah, and their joint scenes are glorious. As the layers unravel, so the acting enhances your involvement with the character, and your willing of the character to triumph. Her later scenes with husband James are truly heartbreaking. As they embrace, the camera pans to a zoom on her face and she gives everything, solace, condemnation, love, regret and pure unadulterated hatred as she forces herself not to be sick. Just pure brilliance.
In support of these wonderfully layered and heart breaking characters are "Sam" (Samuel Bottomley) who deserves a repeated mention for his touching and gentle shared scenes with his adopted Father like figure of Joseph. "Kelly" (Sian Breckin), "Bod" (Paul Popplewell), "Marie" (Sally Carman) and "Tommy" (Ned Dennehy) all deserve praise for their cameos and supporting roles, but are left vague so as to not hint at or spoil the plot. The charity shop is the central hub of the film and where many of the key scenes take place, employing one, maybe two cameras at most for many of the scenes. The majority are Joseph and Hannah dual scenes, each one a gem in it's own way, even the briefest of scenes propel the story. Aside from the heavy violence and heavy use of language, it's a story of single people confined within partnerships or relationships they seek release from. Perhaps a metaphor for the film is Hannah's anger at the Jesus picture hanging on the wall of the shop before in anger, she throws something at it to dislodge it, as the lingering camera shot depicts. It can be a tough watch at times, the violence it depicts is up close, in focus and very graphic, yet as the actors will attest to, handled magnificently by Considine. Dedicated "For Pauline" the Director's late Mother, in the closing credits, it's clearly a very raw and personal film for the Director.