TwentyFourSeven is a pleasing film from director Shane Meadows who also acted and co-wrote the screenplay. Rather sensibly for a first-time endeavour, he's opted for a low-key work rather than the flashy fragmented works of other young debutantes (Guy Ritchie please take note).
The story is alarmingly simple and is thus: Alan Darcy (Bob Hoskins, excellent) helps out wayward youths in a harsh Northern town by running a boxing club. And that, basically, is it. The film perhaps plays on too narrow a canvass and it's "life is harsh" rhetoric can be mildly overstated. Witness the habitual drug user who turns up to a bout with the largest spliff in history. This guy does drugs, and in case you don't get the point, here's a telescopic joint that would bankrupt Columbia. Bruce Jones' wife-beater can also be a little one-dimensional, saved only by the actors' charm. Yet the fact that the screenplay is so modest in it's ambitions helps it immensely. A lesser talent would have thrown everything at the screen for his first full-length work, yet Meadows tells his tale and tells it well.
Dialogue that could veer towards slight pretention is saved by the wonderful Hoskins, while the real triumph is the black and white filming. This isn't the Schindler's List type of black and white; a dull grey that looks like a normal film with the colour control on your TV turned down. This is a dark, grimy black and white that takes away any contemporary restraints. Particularly notable are the scenes set against the woods and train car, and the pace they evoke. This is a film that doesn't drag but takes it's time with precision. It will entertain you and doesn't need to rush it. Impressive.
The story is alarmingly simple and is thus: Alan Darcy (Bob Hoskins, excellent) helps out wayward youths in a harsh Northern town by running a boxing club. And that, basically, is it. The film perhaps plays on too narrow a canvass and it's "life is harsh" rhetoric can be mildly overstated. Witness the habitual drug user who turns up to a bout with the largest spliff in history. This guy does drugs, and in case you don't get the point, here's a telescopic joint that would bankrupt Columbia. Bruce Jones' wife-beater can also be a little one-dimensional, saved only by the actors' charm. Yet the fact that the screenplay is so modest in it's ambitions helps it immensely. A lesser talent would have thrown everything at the screen for his first full-length work, yet Meadows tells his tale and tells it well.
Dialogue that could veer towards slight pretention is saved by the wonderful Hoskins, while the real triumph is the black and white filming. This isn't the Schindler's List type of black and white; a dull grey that looks like a normal film with the colour control on your TV turned down. This is a dark, grimy black and white that takes away any contemporary restraints. Particularly notable are the scenes set against the woods and train car, and the pace they evoke. This is a film that doesn't drag but takes it's time with precision. It will entertain you and doesn't need to rush it. Impressive.