Vonia
This is the perfect example of an underrated hidden gem, Andrew Garfield playing an Oscar-worthy role as a recently released man doing his best to begin a hard-earned, well-deserved new life after serving his sentence for murder committed as a young boy. This film gives a message that very few others even attempt to explore. It is the exception to the rule, a scenario in which an ex-convict can be rehabilitated. As depicted in "The Shawshank Redemption" (Although comparing these two great films would still be comparing apples and oranges), prison has its own subculture often ingrained as "real-life" by the time individuals are released, resulting in a struggle to survive with everyday things we take for granted- adapting to changed customs, technologies, even simple social cues. As if this does not make things difficult enough, the stigma, lack of trust, and overall negative treatment of these individuals is inevitable- regardless, really, of how they actually act. The question is whether it's even possible for them to return to a regular life. As to his actions as a young boy, I ask, What exactly was he guilty of? Misdirected loyalty to his best friend Phillip? Child neglect translated into criminal neglect? Brash disregard for the life of a young girl because of his conflicted ideas about belonging and friendship, right and wrong? That is, irrefutably, all he did- unless the final seconds of the murder (left to the viewers' imagination) were of something dramatically different than what young Eric Wilson's persona had shown so far. During all the other violent incidents with Phillip, Eric stood by with minimal contribution, at first shocked, then conflicted. Each time, you could almost see in his eyes the doubt, the guilt, the questioning of whether he should do something, then the acceptance that his best friend (whom he idolized to some degree) must know best. Eric was loyal until the very end, refusing to talk, although the truth would have reduced his charge significantly. It is never quite spelled out, but enough is shown for us to deduce that Terry was telling the truth when he promised Jack that Phillip committed suicide- albeit utilizing a loose definition of the word. The young men who hung him did so easily, as Phillip had given in and accepted his death; even welcomed it. Eric Wilson/Jack Burridge, undoubtedly the less culpable of the two, was on his way to his deserved new life. Until society ignorantly decided otherwise. More often than not, prisons breed criminals rather than house them. This makes it all the more remarkable when individuals are released as better men than when they entered. Jack is a portrayal of just such a anomaly. Pivotal words by Terry, Jack has "overcome obstacles that many if not most people would have fallen... Phillip had to come to terms with what he did; He took his own life because he was never able to do that. You did. You grew. You changed. You earned the right to be Jack Burridge. Because that's what this is. It's a f*cking right." Yet, as we see by the unfortunate conclusion of the film and as depicted by his courageously initiated (with no hesitation, might I add) rescue of the young Catherine Thompson, society takes that right away from him. And it is a shame. Such a shame. Obviously, a main theme explored here is that of child abuse and/or neglect, alcoholism, bullying, and other related issues. Phillip was abused by his brother, revealing this in quite a poetic way, describing how, in order to get through it, he would imagine a long hallway of many doors, watching each one close one by one, promising himself that if he could hold on until the last door, he would not cry at all. To me, the scale of Phillip's sociopathic tendencies is too great to be mitigated, although he is a victim of the adults in his life neglecting to seek help for him. Eric is also brought up by parents that seem abusive, at least verbally and through neglect. The result of this is him desperately clinging onto Phillip for guidance and friendship, similar to how impoverished children are likely to fall into the gang subculture and other such bad influences. Terry seems to be alcoholic, something that he seems to have passed down, or at least allowed to be passed down, to his son Zeb. Zeb, aside from having no ambitions, somewhat depressed, and increasingly alcoholic if not so already, is also hiding a sense of abandonment. Thus, when his father's words (When drinking, Terry lets it slip that "I love you, Jack. You are my greatest f*cking achievement.") more or less confirms this, his version of revenge is to expose Jack for who he is, later saying that if his father is choosing this murderer over him, his son, he hopes Eric Wilson/Jack Burridge suffers and gets what he deserves. This is obviously quite an impulsive and immature move on his part, and he may not have fully understood the implications of such a decision. The lighting, mise-en-scene, cinematography was stellar in this film. Subtle changes in lighting and angles at the right moments made all the difference. Most of the film was emotionally moving and tear-inducing, i.e. the final scene on the pier in which we see the result of society's blatant refusal to open its eyes, let alone to consider forgiveness. As he says goodbye to those important to him, Andrew Garfield concludes his truly masterful performance, with conviction and heart. I am not sure that anyone could really have saved him, although Michelle would have been his best shot. And why is this all so important? Because this is what the best of films do for us: they serve as bridges- igniting our synapses and neurons to think about real-life issues, concerns, relationships, problems, in ways we would never otherwise intuit.
Sindre Kaspersen
Irish theater and film director John Crowley's second feature film which he co-wrote with Irish playwright and screenwriter Mark O'Rowe, is an adaptation of a novel from 2004 by British author Jonathan Trigell. It premiered in the Vanguard section at the 32nd Toronto International Film Festival in 2007, was screened in the Panorama section at the 58th Berlin International Film Festival in 2008, was shot on locations in North West England and is a UK production which was produced by producers Lynn Horsford, Nick Marston and Telly Garner. It tells the story about 24-year-old Eric Wilson who is released from prison after having served fourteen years. Thanks to a social worker named Terry who has taken care of him like a father takes care of a son, he is given the precious opportunity to start his life with blank sheets under the name Jack Burridge. Jack gets a new apartment in Birmingham, England, a new job and acquaints a woman named Michelle whom he takes a liking to. Life smiles at Jack and his prospects looks brighter, but he has a dark history.Distinctly and engagingly directed by Irish filmmaker John Crowley, this fictional and internal study of character which is narrated mostly from the main character's point of view, draws a gripping portrayal of a young man who believes that his return to society under a new identity will give him the life he wants, but who soon realizes that he has to confront and overcome his consciousness which is tearing him up inside. While notable for it's naturalistic milieu depictions, sterling production design by production designer Jon Henson, cinematography by cinematographer Rob Hardy, use of music and intelligible way of conveying the protagonist's inner conflict, this character-driven and brilliantly written independent film which examines themes like identity, guilt, prejudice, friendship and redemption, contains and energetic score by theater director, playwright and composer Paddy Cunneen which illuminates the significant atmosphere.This somewhat romantic, at times humorous and instantly engaging coming-of-age tale about a shy and somewhat introspective man who is haunted and suppressed by the dark shadows of his past and his lost youth, is impelled and reinforced by it's fragmented narrative structure, rhythmic pace, substantial character development, quick-witted dialog, interesting characters, the fine supporting acting performances by British actress Katie Lyons, Scottish director and actor Peter Mullan, English actor Shaun Evans and the compelling and memorable acting performance by American-English actor Andrew Garfield who through his sporadic body language and expressive interpretation of a singular character, envisages complex emotions with remarkable conviction. A heartrending and mindful psychological drama which gained the BAFTA TV Award for Best Actor Andrew Garfield at the British Academy Television Awards in 2008.
