HARRY BROWN (includes trailer)
October 20th 2010 21:55
On the cover of the Australian poster for Harry Brown, there's a quote from a review comparing it to Gran Torino, in one sense there is a connection, but in another sense Harry Brown couldn't be further from this comparison. Michael Cain (Get Carter, Alfie, Pulp) is back, as Harry Brown, finally returning to a lead role in a film that does his distinguished presence true justice. With so many recent supporting roles one can begin to forget what it is about Cain that is so great.
Harry Brown is a corrosive, unflinching look at one of London's most unfortunate underbellies of delinquents, drugs and disgustingly senseless violence. Harry Brown is a smouldering tale that isn't afraid to rub your face in a truly ugly picture. From the moment Harry Brown begins, it's surprisingly dark, down right sinister in fact, but it has a heart, refusing to compromise it's tough, honest approach to it's subject matter.
The film begins on a low res video format, recording London lads on the crack pipe, giving the impression of one of them recording it on their phone. These scum bags then ride on a scooter, around a woman in a park, firing shots from a gun at her as she walks carrying a pram, as we see her drop. The frankness of these documenting video images are shocking in their casualness and this sets up a pattern for the violence by youths in the area, all fuelled by drugs.
Up in a high rise building on the Estate in London, lives Harry (Michael Cain). Stuck in a numb existence, following the death of his wife, he seems to not have much to do with his days, aside from a pint here and there, with his mate Leonard, played by David Bradley (Argus Filch from Harry Potter), killing time with a game of chess. The disheartening somnambulism of Harry's life is clear from the first moment he's on screen. He quietly witnesses the wretched goings on from his window, but when Leonard, his only remaining true friend is caught up in the brutality of the neighbourhood violence, Harry finds it impossible to remain passive and we begin to see that Harry too is a man of violence and he begins surrendering to the darker side of his nature.
Harry Brown is absolutely sensational and so is Michael Cain, in a role that is up there as one of the best in his esteemed 50 year career. Made by first time directore Daniel Barber, Harry Brown is dark in it's form and moody in it's style, taking the time to build a dank atmosphere. Harry Brown may seem like a run of the numbers revenge film but what elevates it is it's mood, the cold chill in the streets is nothing compared to the chill of death that comes from stepping outside your house. Barber creates an ominous, moody piece which elevates an already fine script by Gary Young.
Emily Mortimer (Shutter Island) and Charlie Creed-Miles (Nil By Mouth) play the police officers investigating the urders linked to Harry, both managing to bring more to the roles than is on the page. What Harry Brown achieves so elegantly is it's understatedness. Carried out with minimal plotting, the film seems more a canvass for it's atmosphere's which accompany the story into a gritty land scape. The ugliness elevates and the reaction is a no brainer, we're just dying to see someone take the law into their hands, delivering their own brand of old school justice.
The trigger happy, knife wielding, crack heads around the estate are seen in the film as pure evil, more than they are a social problem to be examined, bringing a more black and white, write and wrong tone to the film, which definitely works, but one has to wonder about missed ooportunities that could have been implemented around Harry Brown's spacious, loose dramatic structure. Cain brings a vulnerability and kindness to the role and pulls off the dichotomy of his violent instincts with ease. alesser actor would have resulted in a visually astonishing but lesser acomplished film.
Cinematographer Martin Ruhe (Control, The American) impresses with his many pallettes, his trademark static camera creates a cold momentum that takes through the many crack dens and forboding, underground locations of the Estate. The editing by Joe Walker creates a deliberate pace that build on it's very angry steam and the darky (and very cool) musical score by Martin Phillips and Ruth Barret contribute a bassy, electronic ambience to the soundtrack that prepares us for the pay off.
Harry Brown is born from a simple story concept, but it's plunder seems richer. If it isn't mearly Cain that provides this image of further accomplishment for the film then it's the fantastic photography which creates this memorable film that is closer to Taxi Driver than Gran Torino. There's a bloody good sense of satisfaction you get from Harry Brown, along with a tinge of sadness that prevents it from being disposable. The film delivers with the kick of a 45 pistol, a highly recommendable film which also establishes director Daniel Barber as one of the perhaps promising new English directing talents like Andrea Arnold or Anton Corbijn, to keep your eye on.
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Comment by JohnDoe
Film & TV on DVD
I don't think I was as impressed with this one as you were but it was still worth a watch.
Loved seeing Caine playing his age and aside from the final act it does adhere to a level of authenticity.
Some of the cinematography was brilliant, especially the opening in comparison to the rest of the film.
It fell flat in the middle for me when it teetered into cliche and became rather predictable.
For me it left Gran Torino in the dust and I do think that the comparisons are apt from a geriatric revenge genre perspective.
Comment by ShaunK
Screen Adventure
hehehe - geriatric revenge , I love it.
Man - I really dug this film. I loved it so much more than Gran torino - thanks for reading and also for the compliment bud.
Comment by David O'Connell
Screen Fanatic
I seem to remember taking the piss out of this film. All I recall now is how bad some of the acting is - especially Emily Mortimer who has certainly never been worse in a film in her career.
Comment by ShaunK
Screen Adventure
It's funny to hear some of these polarized reactions between us these days. I think it often has to do with what mood your in when you see a film too perhaps and also in relation to ones expectations.
I look forward to agreeing with you again on a film soon David
Comment by ShaunK
Screen Adventure
What I thought was under stated and nicely played was Cane's portrayal of the emotions and process he goes through. I love the scene where he stabs that junkie in the tunnel during his walk, I found it understated.
Comment by Bryn
Horrorphile
I do like Emily Mortimer though.
Comment by Bryn
Horrorphile
I do like Emily Mortimer though.