filmbore pick of the week - Wild Bill

Wild Bill

Director: Dexter Fletcher
Screenplay: Danny King, Dexter Fletcher
Starring: Charlie Creed-Miles, Will Poulter, Liz White, Sammy Williams
Year: 2011
Language: English
UK rental release: September 2012

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I'd like to say it's been a while since we've been presented with another "British Gangster film for British blokes", but I'd be obviously lying to you. Since the groundbreaking smash Lock Stock... we've been drowned by a plethora of UK crime capers full of cheeky chaps, which have felt more and more diluted as time has gone by. Now, one of the stars of Guy Ritchie's entry to cinema history, Dexter Fletcher, has taken his first steps in the director's chair for what seems to be his take on the genre, Wild Bill.

Bill (Charlie Creed-Miles, Harry Brown, Nil By Mouth) has a reputation. Renowned in his old estate as force of nature, he was a major pusher in East London in his time and handy with his fists. He's unaware of the stature of his name now though, as he's just been released on parole after spending 8 years in prison. On his first day out,  the new crew on the block try to recruit Bill into their business, maybe in the hope that a man of such local underground fame could bring fortune to their dealings and to keep him on a tight leash. However, Bill is now a tempered soul, built not only from his time away but of the thoughts of the family he has become so estranged from.

During Bill's absence, his eldest son Dean (Will Poulter, Son Of Rambow, The Voyage Of The Dawn Treader) is playing father to his younger brother Jimmy, thanks to the boys' mother running off to Spain with a new man nine months ago. To make ends meet, Dean has taken up a job as a labourer - he's learning a skillful craft and doing what he feels is right, even though at 15 years old he should really be in school.

That's more than you can say for 11 year old Jimmy (Sammy Williams, Attack The Block), who has no excuse from his absenteeism from class. He consistently plays truant to hang out with his older mate, Boz and cause trouble.

On Bill's return, the lads have difficulty understanding his presence at their home, hiding from him when he first arrives. It's clear to Bill that Dean is now the man of the  house and he doesn't want to interfere with that. Yet, with their mum sunning it up abroad, Child Services are hovering over the family like a pestering sword of Damocles, preventing Bill from making a sharp exit to Scotland for some promised work.

This dilemma forces him to make a stand as a parent for the time being. Through simple fun he starts to establish a new bond with Jimmy but Dean isn't so keen, feeling the strain of responsibility towards his younger brother from being usurped from his post as a surrogate parent. Loosening the grip from Jimmy allows the young boy to fall in with a bad crowd linked to Bill's associates.

As relationships shift, this new group of dealers see Bill as a has-been and start to pose a threat to his family. He confides in his new friend, Roxy (Liz White, of Life On Mars: TV series fame) who knows these criminals; caught in the wrong crowd herself, she's a future portrait of where Jimmy could be heading. But there is only so much she can advise on, as all of these events are building to a choice that Bill has to make in order to get his priorities in check.

As you can tell from most of my reviews, I'm a sucker for a debut. And I'm pleased to say that this one from Dexter Fletcher is superb!

On the budget supplied, of about £750,000, there's an astounding roster of talent involved here. Through Dexter's contacts in the industry he's been able to pull a few strings and bring together a great ensemble of characters, even for the smaller parts to cast including Marc Warren, Leo Gregory and, the always solid, Neil Maskell. There's even some fantastic cameos from the likes of Sean Pertwee, Jaime Winstone, Jason Flemying and Andy Serkis.

Although, even with such strong personas to juggle, what Fletcher has seamlessly succeeded in doing is drawing out such rich performances from his leads that they don't suffer being weekened by their co-star's presence. Charlie Creed-Miles in particular has great on screen chemistry with every character he's confronted with. He's a great choice for Bill, subtly handling a man so torn between the old world he thought he knew before his jail time, and the new world that he is ignorant of but naturally relates to as a father. Creed-Miles has had lead roles in the past in smaller films but I'm pleased to see him in a more prominant picture that has enough quality to put him firmly on the map and allow him to flaunt his gift in front of the lens. It's a similar situation experienced by one of his co-star's, Neil Maskell, who has had a similar opportunity in Kill List (as described in my review here) and it's been a long time coming but is truly welcomed.

Another stand out star of Wild Bill is Will Poulter. For such a young man he has indomitable screen presence. It's clear that, even though he is still only in his late teens, over the years he has managed to nurture his talents since his unforgettable part in Son Of Rambow through numerous TV comedies and in doing so has evolved into a brilliantly well-round actor. From his turn in this film, I hope that he gets noticed for the right parts moving forward in his career as he has the makings of a future British screen icon, which you'll find difficult to argue with when you see him here.

Yet, for me, the winning performer in this picture is the film itself. On the surface it appears to be another British indie crime film but instead we are treated to an emotionally hefty drama surrounding themes of retribution and family groundings. Still, little strands of humour peek through the serious visage, thanks to some great writing from Danny King and our director. There's some great banter handled naturally by the cast, and each nugget of comedy feels like it belongs, without deterring from some of the important messages held within. An example, is when Bill is expected to clean up the dirty toilet in the family apartment. With humorous pangs through his disgust at the act, his overcoming of such a task represents the initial stages of taking charge of his new found fatherhood. It's a subtle blend that works well, leaving room for more obvious jokes throughout.

It sounds like a complicated recipe, but not so. At the initial outlay, you may feel that this film doesn't know what it's trying to be: a gritty Brit-gangster movie or a down-to-earth kitchen drama. Thankfully, it sits perfectly in the middle, balancing effortlessly between and not too scared to dip it's toe a little further either way. In most circumstances this wouldn't be too appetising, however the choice to ride the fine line between the two genres is perfect for this picture, as it succinctly reflects Bill's state of mind and current predicament.

Which ever way look at Wild Bill, it's clear that overall it presents itself as a British Spaghetti-Western - the stranger in his old town, sacrificing himself for the better good. With a climax that leaves you satisfied, sad and amused, it's a refreshing outcome from a genre that should have had it's time, but maybe now is starting to show it's true colours thanks to the excellent taking of the reins by one it's proteges, Dexter Fletcher. It's a touching and enjoyable piece, perfect for Fletcher dedicating to his recently passed father. And I can't wait to see what Dexter's going to give us next.

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