Director: Alan Clarke
Screenplay: David Leland
Starring: Tim Roth, Eric Richard, Bill Stewart, Terry Richards, Geoffrey Hutchings
Year: 1982
Language: English
UK rental release: February 2006 (DVD)
Rotten Tomatoes
After a couple of months of globe trotting, I'm returning to the shores of my own country this week. I feel it's the right time to unearth one of UK's greatest hidden gems, the TV film play Made In Britain.
Trevor (Tim Roth, Reservoir Dogs, Rob Roy, Pulp Fiction) is a 16 year old skinhead...and he takes no shit! He's racist, unfazed, disruptive and violent, leading a life of his own making and sticking it to the man. He steals whatever he wants, be it cassettes or cars, and smashes up shops with no remorse and no respect for the law.
As we open on our story, he's facing court action for some of his jaunts. He sees no shame in his conduct - he's even proud of his "accomplishments". He's sent to an assessment centre by his social worker, Harry (Eric Richard, of the The Bill - TV Series fame) who believes that there's more potential in the young lad.
As soon as Harry get's Trevor set up as a resident at the centre, the upstart gets busy on kicking up a fuss. Not happy with his room, his bed, his income, and sweating about getting work (as recommended by the magistrate who convicted him), he's already at loggerheads with the centre's warden, Peter Clive (Bill Stewart, Copying Beethoven, G.B.H. - TV Series) who's a little perturbed with him arriving in the first place. Nevertheless, he's starts directing Trevor to act the right way. His intentions are obviously righteous, but Trevor just sees him as another nuisance.
Despite the Swastika tattoo emblazoned on his forehead, he makes an unlikely friendship with his room mate, Errol (Terry Richards), taking him out on some of his unlawful deeds. En route, he heads down the job centre, disgruntled by the poor selection of employment available. Leaving before applying for any jobs, he pauses for a beat and responds in his own way...with a brick through the job centre window!
But all is not what it seems. Trevor rebellious streak isn't through an inability to be educated, or a lack of knowledge or talent. In fact, he's incredibly bright and capable of great achievement. He's in for a reality check when faced with the centre's superintendent (Geoffrey Hutchings, Topsy Turvy, Wish You Were Here). Through the aid of a blackboard and diagrams he illustrates where Trevor fits in society if he continues down his bleak path, in an attempt to shock him in the right direction.
Patronised by the superintendent's attempt to break through to him, he brushes the comments aside. Yet, the centre don't lose hope and continue to support. Will he listen to those that want to guide him and tap into his true potential, or will he continue to stick two fingers up to the world in his stand against the system?
Made as part of the "Tales Out Of School" series, Alan Clarke (director of The Firm and Scum) delivers this nod to the punk era on a virtually zero budget. Originally a TV movie, it has found cult status over the years, especially through it's re-release on DVD seven years ago.
This is partly thanks to the documentary style realism that the picture carries, delivered by the trusted hands of cinematographer, Chris Menges' (known for his work in films such as Kes and The Killing Fields). His reliable Steadicam techniques are swooping and energetic, focusing on Roth nearly the entire time and keeping a simmering sense of electricity throughout the whole picture. The fluidity to his methods creates an identity that imbues the tale with a sense of interactivity, placing you directly into every moment.
The second reason for it's popularity comes down to the quotable script. David Leland, who went on to write another British homemade classic, Mona Lisa, doesn't hold back in crafting a body of text that jolts in it's Pitbull grip. Said jaws of anguish are mostly chewed by our lead Trevor who, thanks to Roth's portrayal, takes a firm chunk out of the despotic nature of his peers.
It's this lack of respect for authority, held so purely and defiantly by Trevor, that thematically pins the story together. Through the vision of this disobedient soul, who's anarchistic tendencies are difficult to consent to, we are transported in an instance into his skewed view of what it means to British. His relaxed racist bent, and an instinctual need to revolt camouflages our lead, only parting at brief moments to highlight his deeper need for both escapism and his own self-control.
Such a concoction of personas would be difficult for any young actor to handle but at 21 years of age, in his official acting debut, Tim Roth is already an acting tour-de-force. He drives the entire picture with this sensational performance. Seeing him in such a stripped down role in his earlier years, it easy to envision how he would inevitably become such a respected global actor: his natural ability to strike fear, to make you question your own perspectives and judgements, how he handles dialogue - all of these tools of the acting trade, that would take some performers years to master, are already fully formed in the young man. He's a domineering presence. His moment that follows the, now renowned, lesson from the superintendent demonstrates this purely, where such a brilliant monologue steals the scene only for him to snatch it straight back with gusto.
Speaking of that scene in particular, it's fair to say that it's the central channel to the whole movie. It comes so early on in the film but stays with you for the entire picture while you ponder over Trevor's decisions, whether rebellious or vaguely relenting.
Those of you partial to a little hip-hop (like myself) will recognise some of the dialogue as sample by London's Skinnyman for his Council Estate Of Mind album (a true British album taking influence from a true British film!). For the first 8 minutes of this vignette, Geoffrey Hutchings as the superintendent owns the room effortlessly even in the company of Roth. Perfectly delivered in this brief appearance, its a prime example of great British writing and exemplary execution of the text. There's a mutual air of both cockiness and understanding, which is an incredible mix to portray, but it's handled beautifully by Hutchings making it a seminal scene in indie film making as a whole, let alone just this film.
As he lays out the scenarios and choices for Trevor, building a structure for his life as well as the tale, his lengthy shots in front of the lens between snappy responses from Roth are like mini monologues. It's eloquently pieced together and it's difficult to argue with the logic put forward (which Trevor inevitably does, of course!).
In fact, it's this illuminating chapter of the TV play that made we want to select this film as "pick of the week" initially. There's no disputing the noticeable talent in the young Roth, the excellent performances from the rest of the cast, not forgetting the gritty UK vibe, but this scene in particular commendably elevates the entire story.
This is how drama was made in the UK in the late 70s and early 80s: raw, stark, unrelenting, harsh and cruelly emotive. We still see such veins of the real and dark in today's TV dramas, plus the odd film now and them, but there something iconic about this era of small British film making that sticks true...these pieces demonstrate the real UK. They say "Forget the stereotypical English gent that seems to be pinned to our culture...it's this straight up, no nonsense, brash and confident attitude that fuels the backbone to this nation". As terrifying, or as inspirational, as these characters may be, here in GB we recognise them all...love them or hate them.
Frustratingly short, but intense throughout, Made In Britain deserves it cult status. It pierces it's way through with it's relentless truism. And, instead of relying on the suspected wall-to-wall violence you'll think you'll be receiving, you'll be presented with acting brilliance and tense dramatic build-up, all controlled by the unbound manner of a startling debuting lead.
After a couple of months of globe trotting, I'm returning to the shores of my own country this week. I feel it's the right time to unearth one of UK's greatest hidden gems, the TV film play Made In Britain.
As we open on our story, he's facing court action for some of his jaunts. He sees no shame in his conduct - he's even proud of his "accomplishments". He's sent to an assessment centre by his social worker, Harry (Eric Richard, of the The Bill - TV Series fame) who believes that there's more potential in the young lad.
As soon as Harry get's Trevor set up as a resident at the centre, the upstart gets busy on kicking up a fuss. Not happy with his room, his bed, his income, and sweating about getting work (as recommended by the magistrate who convicted him), he's already at loggerheads with the centre's warden, Peter Clive (Bill Stewart, Copying Beethoven, G.B.H. - TV Series) who's a little perturbed with him arriving in the first place. Nevertheless, he's starts directing Trevor to act the right way. His intentions are obviously righteous, but Trevor just sees him as another nuisance.
Patronised by the superintendent's attempt to break through to him, he brushes the comments aside. Yet, the centre don't lose hope and continue to support. Will he listen to those that want to guide him and tap into his true potential, or will he continue to stick two fingers up to the world in his stand against the system?
Made as part of the "Tales Out Of School" series, Alan Clarke (director of The Firm and Scum) delivers this nod to the punk era on a virtually zero budget. Originally a TV movie, it has found cult status over the years, especially through it's re-release on DVD seven years ago.
This is partly thanks to the documentary style realism that the picture carries, delivered by the trusted hands of cinematographer, Chris Menges' (known for his work in films such as Kes and The Killing Fields). His reliable Steadicam techniques are swooping and energetic, focusing on Roth nearly the entire time and keeping a simmering sense of electricity throughout the whole picture. The fluidity to his methods creates an identity that imbues the tale with a sense of interactivity, placing you directly into every moment.
It's this lack of respect for authority, held so purely and defiantly by Trevor, that thematically pins the story together. Through the vision of this disobedient soul, who's anarchistic tendencies are difficult to consent to, we are transported in an instance into his skewed view of what it means to British. His relaxed racist bent, and an instinctual need to revolt camouflages our lead, only parting at brief moments to highlight his deeper need for both escapism and his own self-control.
Such a concoction of personas would be difficult for any young actor to handle but at 21 years of age, in his official acting debut, Tim Roth is already an acting tour-de-force. He drives the entire picture with this sensational performance. Seeing him in such a stripped down role in his earlier years, it easy to envision how he would inevitably become such a respected global actor: his natural ability to strike fear, to make you question your own perspectives and judgements, how he handles dialogue - all of these tools of the acting trade, that would take some performers years to master, are already fully formed in the young man. He's a domineering presence. His moment that follows the, now renowned, lesson from the superintendent demonstrates this purely, where such a brilliant monologue steals the scene only for him to snatch it straight back with gusto.Speaking of that scene in particular, it's fair to say that it's the central channel to the whole movie. It comes so early on in the film but stays with you for the entire picture while you ponder over Trevor's decisions, whether rebellious or vaguely relenting.
As he lays out the scenarios and choices for Trevor, building a structure for his life as well as the tale, his lengthy shots in front of the lens between snappy responses from Roth are like mini monologues. It's eloquently pieced together and it's difficult to argue with the logic put forward (which Trevor inevitably does, of course!).
In fact, it's this illuminating chapter of the TV play that made we want to select this film as "pick of the week" initially. There's no disputing the noticeable talent in the young Roth, the excellent performances from the rest of the cast, not forgetting the gritty UK vibe, but this scene in particular commendably elevates the entire story.This is how drama was made in the UK in the late 70s and early 80s: raw, stark, unrelenting, harsh and cruelly emotive. We still see such veins of the real and dark in today's TV dramas, plus the odd film now and them, but there something iconic about this era of small British film making that sticks true...these pieces demonstrate the real UK. They say "Forget the stereotypical English gent that seems to be pinned to our culture...it's this straight up, no nonsense, brash and confident attitude that fuels the backbone to this nation". As terrifying, or as inspirational, as these characters may be, here in GB we recognise them all...love them or hate them.
Frustratingly short, but intense throughout, Made In Britain deserves it cult status. It pierces it's way through with it's relentless truism. And, instead of relying on the suspected wall-to-wall violence you'll think you'll be receiving, you'll be presented with acting brilliance and tense dramatic build-up, all controlled by the unbound manner of a startling debuting lead.
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