Bronson (2009)
If Mike Leigh's Happy go Lucky taught us anything about the state of our film industry here in Britain, or lack of it as some might argue, it's that not all of our filmmakers are nihilists or wannabe Guy Ritchies. I cant help but feel often that our industry is a certain kind of dichotomy. One the one hand we seem to produce the ultra-violent gangsta film (Gangster No.1, Lock Stock, Snatch, Layer Cake, Sexy Beast), and on the other the light fluffy romantic comedy/drama, that strives to educate the world of the overwhelming charm of 'Britishness', (Keeping Mum, Love Actually, and so forth) as if they could care any less. There are also of course, the great period dramas produced in Britain, although I feel that these are very much part of our heritage, and will always be around one way or another.
As a film lover, and a fan too of this great nation, I would like to see our producers and directors put their funding to good use and make films with a sense of integrity and originality. As long as this criteria is followed, I can forgive any amount of violence (up to a point obviously) and simply admire the artistry. When a project recieves funding from the UK film council, which is now the go to body for funding in the UK, I expect to watch a film that will either enrich our lives with the high calibur of the storytelling and performances on screen, or dazzle us with its inventiveness and sheer scope. I dont want to watch films that revel in idealised and glamourised violence, whilst masquerading as cutting edge, like Creep, or insensitively approach very serious issues, like the recent Three and Out. Violence for the sake of violence is no more than a cheap thrill, an easy plot device and frankly far too hackneyed in our industry.
There are great pioneers within our industry that should be heralded; Stephen Frears and Michael Winterbottom are two directors that don't seem to want to pursue stereotypes, instead pushing the industry forward with their integrity and courage. This country does produce beautiful, intricate and above all entertaining period dramas, (most of which the BBC are behind) like The Edge of Love,Pride and Prejudice, Atonement and this months The Young Victoria. This surely is in no small part due to a wealth of talent that exists, and has no doubt long existed in this country; James McAvoy, Emily Blunt and Michael Sheen are just a hand full of actors that prove this point. The problem lies in the chances that we take; the fact is that we can only produce a certain number of films from these shores each year, so perhaps the impatus lies with the UK film council, funded not exclusively, but largely, from lottery money, to consider carefully what projects they are contributing funds towards. Film Four struck gold with Slumdog Millionaire by helping to fund an ambitious British film set in the streets of Mumbai; at the time this must have seemed a great risk.
If risks weren't taken in the past then cinematic epics, like the multiple Oscar winner The English Patient might never have been made. If we are to return to the era of the 1980's when production companies like Goldcrest Films were producing features such as Gandhi and The Killing Fields, then creative talent in this country needs to be given a chance to develop and diversify. More emphasis has to be put on creativity and less on formula. Questions have arisen on whether or not we needed a film about Charles Bronson, and was it ethical to spend lottery money to bring it to the big screen. The answer lies in how the character is handled, and whether the ends do in this instance justify the means. Will it be an admirable piece of art, or an angry crowd pleaser? The jury is still out.
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