Two thirteen-year-old working-class friends in Bradford seek fortune by getting involved with a local scrap dealer and criminal.Two thirteen-year-old working-class friends in Bradford seek fortune by getting involved with a local scrap dealer and criminal.Two thirteen-year-old working-class friends in Bradford seek fortune by getting involved with a local scrap dealer and criminal.
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- Nominated for 1 BAFTA Award
- 12 wins & 21 nominations total
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Loosely based off Oscar Wilde's short story of the same name, Clio Barnard's vision is comparable to a Ken Loach slice-of-life style but rather than the sloppiness and lack of clarity that style can bring, it's startlingly energetic and tight in its delivery. It immediately engages you with its opening scene of a cathartic pounding of rage under a claustrophobic bed then a sincerely moving image of holding hands, all from angry underprivileged boys. It's a rough world depicted here. Conflict is around every corner without exception. Characters step outside and witness kids chased down the street. The harshest swear words are thrown around without much regard for their consequence. It's intimidating, but our characters embrace it and dive in with both feet. It's a world of scroungers, those that see the resale value in everything and abuse that opportunity. It's a bleak life, but the film executes it in such an honest way that it doesn't feel preachy in the way that this is the limits of quality of life and future in the working- class north. Their immoral tunnel vision is one of necessity rather than choice. It's a cruel situation that the film immerses you without comfort.
While there may be a touch of melodrama with the theme of the mother's concern and the pacing it thrives off of seems unnatural, what makes the film work is that it still feels authentic in its performances and script. It's perfectly reflected in its terrific cinematography. It's rough and raw, but it's well-measured in its framing and characters don't get lost in its saturation. The real revelation is its lead performance, Connor Chapman, who gives a genuine and confident performance for his age. Mature, if not sophisticated, beyond his years to be able to take on a brutish character like this with such fearlessness. At first you feel animosity towards him, then a deep pity burrows deeper and deeper. Then the film utterly shatters your heart with its inevitable Shakespearean tragedy making it an unforgettable experience. Any doubts I had about the films power hinges on those fateful final 15 minutes. It may be bleak, but there's a thin ray of hope bursting through the grey clouds. The Selfish Giant single-handedly puts my faith back in British independent filmmaking. I hope this sparks a new era.
8/10
Having seen Clio Barnard's previous film 'The Arbor' a couple of years back, I was curious to see her next feature and it's well worth the price of admission. Her style and subject matter here remind me of Andrea Arnold's 'Fish Tank' and also a little of Rufus Norris's dysfunctional family in 'Broken', both of which were high on my score sheet.
The two young leads are outstanding, even if their strong northern accents are sometimes hard to follow for me, a southerner, and the portrayal of exclusion, its consequences and repercussions is handled brilliantly by the film makers as you are immersed in their world for what feels far longer than the 90 minutes running time.
See it and appreciate that British drama is alive and kicking. I look forward to her next project.
Of the adults it is clearly led by the performance of the three lead female actors (four: I should include the school receptionist). But this film has such an almost documentary feel about it you can forgive any of the acting that may feel a little strained or unnatural (perhaps because of a lacking in the script?).
There are some wonderfully emotionally funny scenes equally matched by ones of sadness. People often use words such as grim, depressing or bleak. But this is Britain as it is; which is about looking for the humour and humanity beyond the circumstance of living. If you haven't been in Britain, then you might be forgiven, if you live here then maybe you have been sheltered: This is really how life can be; but it is far more a story about a boy's journey to manhood.
As a statement on modern society then it speaks volumes to say that nothing is different now as from when it's 60's counterpart Kes was made, or for that matter in anytime in our history.
But for me it won on all levels for it's such strong sense of humanity, on Arbor's journey of discovery, which was lacking, somewhat, in Kes.
They are no longer motivated in studying, because the bills need to be payed by the end of the month. At school they are expelled because of their frustrated behavior. Their family is in ruin due to the stress caused by not earning enough money.
In their quest for scrap they see how the best thief's also gain the most money. So eventually they turn to criminal behavior. Not by choice, but by necessity. Making money becomes separated from doing 'the right thing' to do.
The director does a good job not telling this as a straight forward moral tale, nor using sentimental 'tricks', nor trying to pretend that all ends well. But telling it as an illustration on a human level in an ordinary community where the downside of our economic model is not theory but reality.
Did you know
- TriviaClio Barnard based Arbor and Swifty on two children she met while filming The Arbor (2010) who worked as scrappers.
- Quotes
Policeman: This is a formal interview under caution. Do you understand that, Fenton? Hey, do you understand?
Arbor: Yeah.
Policeman: A witness saw two youths burning railway or communications cable.
Michelle 'Shelly' Fenton: That's nowt to do with him.
Policeman: Cable theft is a very serious crime, Mrs. Fenton. Trespass on the railway is £1,000 fine.
Arbor: I ain't been on railway.
Policeman: Vandalism, endangering lives, maximum penalty of life imprisonment.
Michelle 'Shelly' Fenton: He's just a kid. He ain't nicked no cable. You're looking at wrong place.
Policeman: He is, as you say, Mrs. Fenton, a minor. There's unscrupulous people out there getting kids to do their dirty work so they don't get into trouble with the police themselves.
- ConnectionsFeatured in At the Movies: Episode #10.23 (2013)
- SoundtracksConspiracy
by Bill Brown
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Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- Bencil Dev
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $12,189
- Opening weekend US & Canada
- $2,589
- Dec 22, 2013
- Gross worldwide
- $1,114,027
- Runtime1 hour 31 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
- 2.35 : 1
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