Ben Wheatley’s disturbing and blackly comedic cinematic debut.
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How’s this for a light dusting with fame?
When I originally released this review of what would become over time a love-in appreciation of the entire cinematic career of director Ben Wheatley (2009–2016, six incredible films and all included within the behemoth article linked at the bottom of this introduction), the Director of Photography on Down Terrace (and all subsequent Ben Wheatley films) Lawrie Rose, read my article via Twitter, complimented me on my amateur scribblings as well as correcting me on a couple of the framing and camera technicals that I’d either omitted or incorrectly mused upon. The man in charge of bringing the director’s “vision” to the cinematic big screen had read my article, complimented and corrected me.
Deep joy!
So whilst I continue to dine out on this particular brush with the fantasy world I’ve been obsessed with my entire life, here’s my decade old myopic love for a film billed as a “Gangster Film” but this is much, much more than any gangster film you’ve ever seen.
I could easily cite Down Terrace as my favourite Ben Wheatley film but I haven’t seen his three more recent cinematic efforts and then I’d remind myself how incredible it is seeing two hitmen crawling through a pitch black tunnel only to alight into a death ritual in a forest, or that hallucinogenic Field in England, the debauchery and societal decay inside a High Rise, the fast talking shoot-outs of Free Fire or those beautiful runaway oddballs in Sightseers who are on one last trip, and so is everyone else who encounters them.
I must play catch up on the three pieces missing from my Ben Wheatley cinematic jigsaw, but here’s a cinematic debut that I cannot recommend highly enough.
It’s an astonishing film.
Ben Wheatley and 6 highly recommended British films
Down Terrace, Kill List, Sightseers, A Field in England, High-Rise and Free Fire. 7 years. 6 incredible films. Lovingly…medium.com
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“I feel like a teenage, tantric Superman!”
How do you sum up Down Terrace? An edgy, very darkly comedic edged crime drama? An 89 minute debut feature that will leave your jaw on the floor in horror, bemusement and appreciation of an astounding film? It certainly did me.
But first, the incredible characters:
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“Bill” (Robert Hill) Recently acquitted of an unexplained crime who returns to his domain to continue his shady and purposely vague criminal business. Seemingly the Family Patriarch and a font of all knowledge, he speaks in sound bites, oblique references and has a methodical answer for everything. He has a constant air of being right, of being just and correct, however his duality is quickly established, as is his paranoia and blatant two faced attitude to everyone apart from his devoted wife Maggie. His plain, matter of fact style of speaking grates at first but that should be regarded as a compliment as it blends with the other richly detailed characters he comes into contact with. With jiffy bags of unexplained content, a Club constantly referenced but never seen, and an air of control over his domain, it’s interesting to note the crumbling surrounds of his home and a key metaphor for the film as a whole.
Describing his spiritual awakening feels deliberately rehearsed and forced, with his son Karl’s reactions matching his “I was a smoker, an artist, a poet”. A heavy drug user combined with an unexplained clear liquid and white tablets (occasionally referenced as “vitamins”) Robert Hill’s performance is sublime, always reinforcing his character’s determination that he is right and his path the right one. A performance that has everything, a stillness, a clear adoration for his wife, unhinged and frightening, ruthless and determined.
It’s a brilliant but shocking portrayal.
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“Karl” (Robin Hill) also acquitted with his Father for the unexplained crime. Almost a mirror to his Father, explaining perhaps his painful descent into paranoia and all out aggression. Robin Hill’s performance of calm serenity to nasty, aggressive bully is incredible at times, and always very unnerving. It’s a great compliment that whilst Karl is on screen you simply can’t settle, you’re unnerved by his performance, awaiting his next violent outburst or bemused by his strangely sadistic laugh! His mental anguish is quickly established as he struggles with his “monkey suit”, as is his frightening outburst as he tries to find some prison letters from his girlfriend, and a scene that has to be seen to be believed.
Hill’s portrayal of a man on constant edge, bordering on psychotic and schizophrenic is brilliant. The mirror metaphor to his Father is apt in many ways, except their apparent mental state. Heavy drug use (seen rolling a joint in the opening minutes) and sharing the unexplained “vitamin” drink, Hill’s performance is frightening, unnerving and at times incomprehensible.
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“Maggie” (Julia Deakin) The family Matriarch and real head of the household who seemingly is always in the background. The important confidant to husband Bill and despite the chaos and blazing rows surrounding her seems strong, determined and unflappable. The film’s moral centre, but her unravelling is heart breaking at times (especially when backed by the beautiful violin score of “Scarborough Fair”) and her singing to son Karl to soothe and comfort him is truly heart warming and breaking in equal measure. The smaller of the three main roles, yet Julia Deakin does so much in an accomplished performance.
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“Pringle” (Michael Smiley) a strange, quirky and “buzzing” performance from Smiley who as always, is pitch perfect throughout. From broad smiling and comfortable to snarling and hurtful in the blink of an eye, his admonishment of Karl is as frightening as it is simple. Karl, playing innocently with Pringle’s son who is having an absolute ball and loving every minute of the attention but it’s Pringle’s complete about turn from smiling and jolly to outright anger that staggers “Less of that. I don’t mind the kissing and cuddling, but less of the farting noises”.
A quick cut but another immediate admonishment, this time dead pan and even more threatening “Just stay where I can see you”. The shared scenes with Karl continue in a similar manner later when again Pringle, now switching from flat out anger to a warm smiling embrace at Karl’s impending Fatherhood couldn’t be happier for him as he proclaims “Hug it up bitch!”.
Following a daily narrative with the days of the week themselves listed as scene accompaniments, this is a deliberately tough watch at times and a disturbing portrayal of family life and relationships mirroring one another and spiralling out of control. There is an underlying warmth to many characters yet the juxtaposition against a ruthless determination of being right and just outweigh this, and the vacant detachment in seeking that ground is starkly displayed. Awkward conversations often lead nowhere, or seemingly nowhere yet still tail off, but this is not a criticism. It’s a heavily veiled compliment as the vagueness and vacuity of the conversations actually engage you as the audience as you try to piece the puzzle of the narrative together. Random conversations and oblique references build a compelling story. The violence is often brief but shockingly brutal, the scenes that contradict this are frighteningly portrayed. The intense build up and the boiling over of fractious arguments that lead to the violence are by far the most affecting.
Cameo and supporting roles are provided by David Schaal as “Eric” a loyal and ambitious member of Bill’s crew. The joker of the pack, his bad taste musings often hang in the air awkwardly. Tony Way plays “Garvey” a clumsy yet loyal member of the crew, with Mark Kempner as “Berman” and Gareth Tunley as “Johnny”. A particular stand out is Kerry Peacock’s performance as Karl’s girlfriend “Valda” deliberately obscure, yet straight talking and unafraid of the chaos unfolding around her.
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Bill and Karl’s Father and Son relationship drive the film and their dual scenes are always full of tension and angst. Often filmed in close up throughout, their awkward vague conversations are constantly broken by violent reprisals but are quickly cut to more jovial, happier times together. Again a metaphor perhaps for their individual states of mind, their character duality and their scenes together are brilliantly portrayed, and equally brilliantly shot and captured by director Wheatley. With many scenes contained within just one room of the terraced house (predominantly the Lounge), often one camera only panning between characters, you are immediately engaged with the screen action as you follow the camera motion.
Equally so when two cameras are used and there are numerous scenes or segments of scenes to enjoy from a slightly obscured viewpoint or angle. With subtle quick cuts the film moves at a real pace and is engaging and thoughtful throughout. Scenes are segued by either a black/blank slide to cut between scenes or a host of brilliant songs. Only four songs are used and each are a joy. “Babes in the Wood” and “The Lark of the Morning” from The Copper Family, “The Ship’s Carpenter” from Lisa Abbott and “Are you leaving for the Country” by Karen Dalton.
Written, Produced and edited by Ben Wheatley and Robin Hill, this 89 minute film with a total cast list of just sixteen actors is simply incredible. I find this film fascinating and the waxing lyrical above is also a tribute to Director of Photography Laurie Rose who with Ben blend moments of bone crunching and deeply dark humour with brilliant character portrayals and a real grating angst that runs through the entire film. With fifteen minutes to go you may be shaking your head at the achievement of this debut film from Wheatley.
By the end of those fifteen minutes, you’ll be picking your jaw off the floor.
An incredible first feature film.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
“Biutiful” (2010)
Alejandro Gonzalez Inarritu and his fourth in a “Quadrilogy of Death”.medium.com
“Her” (2013)
Alexa — Please show me a dystopian future.medium.com
“True Romance” (1993)
The Best of Tony Scott — Vol 1.medium.com