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Post by salvador on Jun 20, 2008 23:28:58 GMT
As the title says this contains spoilers so don't read on if you don't want to know
*CONTAINS SPOILERS*
I have to say I love the way that violence in this film is hinted at in the drunken house scene with Marek and his dad but unlike in his other films, Shane completely throws you off guard by having the father being restrained and even fragile. This scene was really powerful for me as it showed a completely different side to Shane's work.
I also like the fact that Marek's father moved to London, not to get work but because of a broken heart. As Shane said in his Q&A so many British people complain about Polish people taking their jobs when in fact the Polish have very strong worth ethics and its the lazy brits who are complaining. However Marek';s dad doesn't come her for money or a job, its because he cant stay in Poland because his wife is in Poland and they have seperated and he needed to get away.
I love the "A Room For Romeo Brass" esque relationship between the teenagers Tomo and Marek, it's been a while since Shane's only had the "Two friends" dynamic in a film and I think he gets it bang on.
I liked the way that the film flicked into colour for the last montage as the lads go to Paris. I really wasn't expecting that but it works.
Loved the fact Perry takes Tomo in and that the film has a happy ending, with no violence at all. Just a really nice film.
Congrats Shane, Tomo, Paul and all involved.... I loved it!
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Post by amy on Jun 21, 2008 10:21:38 GMT
I thought the film was brilliant too, the friendship between Tomo and Marek gives it a real warmth and humour. The scene between Marek and his father 'the morning after the night before' was very powerful, as it showed the vulnerable side to a character that was not always sympathetic.
Some brilliant laugh out loud moments too!
Yet another Shane Meadows film I will be recommending to all and sundry!!
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Post by Tom on Jun 22, 2008 9:58:21 GMT
Tomo and Marek's interplay makes the film. After the dark endings of 24/7, Romeo Brass, Dead Man's Shoes and This Is England, it was actually great to see a happy ending.
The script is wonderful and it's certainly beneficial that the film is not squeaky neat in it's finish. I liked the colour mismatches between the reels, and when you go to the 8mm footage at the end, it just adds so much to the home made, organic feel of the film.
Marek's father is so strong in this film, and Perry Benson, getting the cash out of his pants and blowing away any stragglers, yeah, that's class.
I hope this finds it's way through to a wider audience.
Tom.
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Post by Bill Edwards on Jun 23, 2008 17:54:07 GMT
Sorry for the length but it’s been a while since I’ve had the chance to wax lyrical about a new Meadows movie! ;D
There’s really isn’t anyone who can pull off the lightness of touch in the way that Mr Meadows does. It really is like there’s nobody there behind the lens at times and we’re just watching a live feed from someone's head.
But Shane Meadows is there and it shows. The beautifully studied framing of scenes and backgrounds. The naturalistic and easy performances from the actors and the kind of dreamy wandering narrative brought down to earth by the story and the location.
The black and white photography was gorgeous. I’ve read it elsewhere being described as luminescent. Spot on. There’s one scene that nearly made be gasp out loud, the cut to Maria talking to the old timer in the café. For a second I thought an errant projectionist had fed in a reel from a Bergman film!
Thomas Turgoose wore the screen like a Saville Row hand-made suit. Blimey! At times I just couldn’t tell he was acting. I can’t really describe it. So off-the-cuff. The rest of the cast were amazing too. The scene between the drunken Marek and his dad was edge-of-seat stuff. I thought, ‘Oh no, here we go…’ and clenched my teeth. But no, Shane Meadows and Paul Fraser pulled back, totally side-winding me. Marius just clasped Marek’s head in his hands and said, “My son”. I could hear the unspoken ‘I love you’ roaring through the room. Very moving.
Many favourite scenes including, Terry Henry (which I almost missed. Thanks tittering audience!). Graham rummaging in his briefs for some notes and and handing one to a disgusted Tomo who’s “Eeeerrrgh!” had me in stitches. Still laughing at that now. Perry Benson was hilarious throughout. Graham’s recruiting methods are a joy to behold. Some great writing there.
One criticism I have is for the sound. Either the mix was a bit rough around the edges or the audio equipment in NFT1 is bolluxed. I found it very trebly and at times I had to concentrate hard on the dialogue to understand what was being said. The soundtrack was stunning and Low Are The Punches is a great song but was someone at the volume knob at NFT1? Every time one of Gavin Clarke’s songs came on the volume was suddenly hiked up to 11! Nit-picking I know but I found it intrusive and distracting.
The sudden and unexpected switch to Super8 colour completely threw me. I’m wondering if the colour sequence is a daydream that Marek or Tomo were having. Was it really happening? I like to think it was a day dream sequence of some kind but that might be me being wanky!
What ever the switch was meant to symbolise it’s kind of confirmed a theory that I’ve had bubbling away for a while now about one aspect of Shane Meadows’s auteur-ism. That being his way of finishing his films with an unexpected but never jarring change in style or pace or mood or... something. Nearly all of his films have this. I would even stick my neck out and say there’s some aspect of magic realism in Meadows’s work which often reaches a crescendo just before the end credits roll or even, as with Small Time, as they roll.
There’s the caption at the end of Where’s The Money Ronnie.
The dance in the café during the end credits of Small Time.
Darcy’s funeral in 24/7.
The magic show that Gavin and Romeo put on at the end of ARFRB
The ‘flying’ sequence in DMS.
The look to camera in TIE.
Discuss! ;D What does everyone else think? Am I on to something here or has it been said before? Or am I talking utter shite?
Well if you’ve skipped to this bit I don’t blame you! I loved Somers Town. A moving, heart-warming and laugh-out-loud funny film with either a poignant ending or a happy one. Dunno yet.
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Post by amy on Jun 23, 2008 19:28:03 GMT
Ooh, forgot to mention Perry Benson as Graham. That man is brilliant! Deckchair comedy at its best...
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Post by amy on Jun 23, 2008 20:55:31 GMT
Thomas Turgoose wore the screen like a Saville Row hand-made suit. Ha ha, this is my favourite description of acting talent ever!! |
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Post by pointblank on Jun 24, 2008 17:39:08 GMT
two things stood out for me firstly the way you watched all the characters coming together and scenes being set i was so engrossed about 20 minuites in i remembered it is in black and white,it really had that little bearing for me and secondly when marek caught tomo "entertaining himself" over marias photos he ws so disgusted he couldnt even swear in english his instinct reverted him back into polish,just as it would in real life....magic
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Post by RydCook on Jun 24, 2008 21:39:48 GMT
So, firstly i'll say it's my favourite Meadows film to date. I think mostly because it is just so happy and fun! It celebrates friendship, family and love. All of those on so many levels, love between friends, first love, family + friends, heartbreak, family break up. The lot! All common themes in everyone's life. Hilariously funny at times, the wanking clip being the funniest thing i;ve seen in a while. Something i've never seen in any film. I love how Meadows never holds back from things like that. Pooing, weeing, wanking Meadows knows its all real and part of life. It has a place in film! ...hmm anyone spot any Pot Noodles!?
Gotta give a special mention to the writing, although as said above tomo shined with his comic timing, the writing is absolutely superb. Fraser's great writing coupled with Meadows' and anyone working on the film's ideas while shooting make for a lovely stew of comedy. Some really great visual comedy in there, particularly from costumes.
My favourite scene had to be the two boys on the bed taking about Maria for the first time.
"Have you touched her bazookas?!"
"Well, I reckon she's not your girlfriend, and i'm gonna have a go. And i'm not comfortable with you having photos of my girlfriend!"
Hilarity ensues.
B E A utiful ending as well. Spot on. Chromebaby's theory is interesting.... Is it a dream? I did wonder... the bit where Maria finds them is rather dream like... she creeps up from behind. Rather coincidental if you ask me?! Anyway I like how thats open to interpretation. Super 8 footage, to me looked very home video-ey and warm and nice, but it also can look very dreamy. You decide. I'm gonna go with thats what actually happened, but this is a exaggerated emphasized nice way of remembering it. Super 8 is also very nostalgic you see, this is how i remember great times when thinking about them.
Anyway I've rambled on far too long! Bloody fantastic!
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Post by Dave on Aug 13, 2008 16:35:41 GMT
No time to post really.... I just have to say that I saw the film today because we were running a press screening at work!
I'll post more later... just had to say that or I think I may have burst!
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cudas
Junior Member
"...but I'll appear at midnight, when the films close"
Posts: 41
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Post by cudas on Aug 13, 2008 18:42:44 GMT
There was also a press screening in Newcastle this morning - eventually, as there was a 15-minute hold-up due to a problem with the "digital key" (I hate digital projection, but looks like we're stuck wiv it...)
Was a little trepidatious that it might not hold up a full six months after I saw it in the Berlin Babylon, and I must confess that the early stretches didn't engage me as much as I was hoping. But after 10-15 minutes I got right into it again, laughed at all the jokes (again), and by the end I wasn't blubbing as much as I had first time, but I did need to wipe away a tear or five...
As with most films (and all good ones) there was stuff I didn't notice or remember which leapt out second time around, like Marek accidentally snapping Tomo right at the start when the latter arrives in London (nice touch); the way the camera tilts up into the sky at the very very end (echo of DMS?); Tomo saying 'This Is England' and it sounding totally unforced and in no way an in-joke (though that's of course what it is). Also I'd forgotten how much of a contribution Ireneusz Crop and Perry Benson make (the former adding to the seriousness, the latter to the hilariousness), and of course the second half wouldn't make any sense if Ms Lasowski wasn't a luminous delight (nice "coincidence" she has a Polish, or at least a Polish-sounding name...)
I'm reviewing the film on Radio Newcastle tomorrow from 1.30-2.00 if anybody fancies listening in (I think it's "audible" online live, and then is kept on the site for 24 or 48 hours or something) and have written a 350-word piece for the London-based political magazine 'Tribune' which will be published next week... After that, I am having a rest from writing about 'Somers Town' (I think I have done about six different pieces already) for a while, though will of course be mentioning it in my year-end top ten roundups...
Oh, and I will be probably paying a visit to the REAL Somers Town when I'm down in London at the end of the month, having had a wander about the place when I lived down south about 15 years ago. I'd take my camera, if I had one.
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Post by Dave on Aug 13, 2008 21:15:43 GMT
One criticism I have is for the sound. Either the mix was a bit rough around the edges or the audio equipment in NFT1 is bolluxed. I found it very trebly and at times I had to concentrate hard on the dialogue to understand what was being said. The soundtrack was stunning and Low Are The Punches is a great song but was someone at the volume knob at NFT1? Every time one of Gavin Clarke’s songs came on the volume was suddenly hiked up to 11! Nit-picking I know but I found it intrusive and distracting. The sudden and unexpected switch to Super8 colour completely threw me. I’m wondering if the colour sequence is a daydream that Marek or Tomo were having. Was it really happening? I like to think it was a day dream sequence of some kind but that might be me being wanky! Didn't notice a tinny sounding film in my screening!  Sounded good! I know what you mean with the music, it is quite loud in the mix compared to the rest of the film.... plus I have noticed that Gavin Clark tracks tend to have the vocal very prominent in the mix of his songs, so when the music is loud in the film, the vocal is even louder again. I don't agree that it was distracting though or intrusive. With regards to the colour ending... I too instinctively thought that perhaps it was the perfect imaginings of how their trip to Paris would pan out. I mean, was the stuff in the phone booth supposed to be them tracking down Maria? "Bonjour. Operator? Could you put me through to that french bird called Maria... dark hair, worked in a London cafe... you know the one, Merci!" Yes.. I am aware that that is probably as bad as asking 'How did Richard know what had happened to Anthony in Dead Man's Shoes' and ruins the lovely upbeat ending... but it crossed my mind.  Also, I'm not convinced Marek's Dad would let them go... not on their own anyway. Anyway, I really enjoyed it. It was so very nice.... and that's not damning it with faint praise at all... it's a great compliment. The film felt unique because of it. Some great classic moments. Surprised no-one has mentioned Tomo's response to Graham's proposal, "when I say jump, you're gonna say how high, right.".... you know the following line! haha Now, is it just my sick and perverted mind, but I can't believe that the next time we see Tomo is when we see him polishing Graham's bell! ;D I can't believe that was an accident on Mr Meadow's part! No Ryd, I didn't spot a Pot Noodle, and I can spot one from a few hundred yards. Maybe the black and white ruined my Pot Noodle radar, but surely Graham should have had a few pallets! It really is crazy how good all of the performances are. Every single one! Including the old french guy, Marek's Dad's mates.... and the kids that give Tomo a beating. When those kids turn up in the film, I was fearing some shitty wise-ass street toughs out of Kidulthood.... but what was I thinking, we were in safe hands with Meadows guiding their performances. I think I am just conditioned by so many bad performances involving teenagers 'on da streets' that I forgot who's film I was watching. Those kids were great. Proper low-level menace portrayed brilliantly. Like touching Tomo's hair and asking what shampoo he uses. Such subtle invasion of space through inane shite banter is so authentic and unsettling because you know there's the blatant yet underlying bullying to such stuff. The only frustrating thing about the film was that I was left wanting more... kind of a "where's the rest of it?" feeling. Also, why didn't Tomo lock the bathroom door? Basic wanking error! ;D |
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Post by Lord Thribb of Hubris OBE on Aug 14, 2008 18:27:50 GMT
Watched it again on monday, free screening at Cineworld in Nottingham, it's even better on the second viewing.
I was more relaxed and able to spot loads of stuff I'd missed the first time around.
Still had me in tears in parts as Gavin's singing wrenched at my emotions.
In my opinion "Somers Town" is Shane's best yet.
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srg
Junior Member
Posts: 40
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Post by srg on Aug 22, 2008 22:54:30 GMT
just seen it this afty at the tyneside cinema in newcastle. have to say never have i left a cinema with such a feeling of walking on air and faith in humanity. then i walked past central station and seen a bunch of 'hens' dressed as police women flashing their arse at everyone.
still though left a truly glowing warm feeling (the film not the arse flashing by some boilers). thought every single thing tomo did was faultless, made the whole thing seem like a documentary not acting. as has been said actually evry performance was cock on and i thought paul frasers writing shone like a beacon in this film.
i'm still all warm and dreaming of a trip to paris. lush
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Post by jill on Aug 23, 2008 21:15:02 GMT
Finally got to see it tonight. It was just lovely. I thought Tomo was better in this than in TIE. He was good in TIE, but he seemed more relaxed and confident in this. The Polish las was good too. Don't know why, but I had this horrible feeling that it was going to end badly, so I really loved the end. How does Shane manage to get such humour out of 'evryday' stuff-just great |
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Post by HMV Lee on Aug 23, 2008 21:33:12 GMT
I totally agree with you Jill, Tomo has really come on as an actor his performance in this was much better. I think were so used to Shane's movies having a darker side we were all expecting Marek's father to turn violent when in actually fact he is shown to be a caring understanding loving father.
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Sounded good!
