For this, some filmmakers began to turn their attention to the crux of the real world. Through their films, audiences see another side of Britain. Like "This Is England" (2006) in previous years, "Tyrannosaur"/Tyrannosaur (2011) also focuses on the living conditions of ordinary people in the United Kingdom. In such a film, the audience will not find the sophistication of British fashion, the aristocratic taste of the royal family, the romantic scenes written by Shakespeare, and the mysterious figures of private detectives or MI5 spies. It should be said that the focus of these two films on the status quo in Britain is closer to that of Dickens's England - the depression has a trace of sadness, the sadness reveals a glimmer of hope, and there is a trace of pain in the hope. The difference is that Dickens's Britain and the films based on his novels have a sense of history for contemporary audiences, while "This Is England" and "Tyrannosaurus" are a true portrayal of the current British bottom society. . Such films are often not contrivedly crafted. However, its slightly rough movie screen properly analyzes the cruel reality and presents it to the audience one by one.
In fact, the two films "This Is England" and "Tyrannosaurus" are quite related in production. "Tyrannosaurus" director Paddy Considine and "This Is England" director Shane Meadows have been friends for many years. The two went to the same school and formed a band together. And Considine's fame as an actor was directed by Meadows. Considine also worked on the screenplay for This Is England. Both films were produced by Mark Herbert. Likewise, both films received rave reviews and won several awards, including the British Independent Film Awards.
Compared with "This Is England", which simply explores the living conditions of the British bottom society, "Tyrannosaurus" adds a narrative thread that intersects across social classes. The film's hero, Joseph (Peter Mullan), is a middle-aged widower with violent tendencies. His alcoholism teetered on the brink of self-destruction. His image reminds me of an alcoholic I often encountered on the road when I lived near Nuoda. About the same age, he was also a bit sloppy, and he was drunk before four or five o'clock, swaying all the way, either talking to himself or cursing. Every time I saw him approaching me, I would consciously or unintentionally go across the road, lest he would lose his mind and smash the wine bottle in his hand and hit me on the head. And the image of the heroine Hannah (Olivia Colman) in the film is also typical. She works in a charity second-hand shop. Small shops like this in the UK are all over the street. The shop assistants are also mainly volunteers. Some of these shop assistants are retirees, some are housewives, and some are students looking to add work experience to their resumes. For the first two types of people, income is not their original intention of volunteering in charity shops, because they often have nothing to do with food and clothing. They volunteer to serve the community, but it's also a channel that allows them to communicate with others and reflect their self-worth. And the film interweaves these two typical images.
At the beginning of the film, Joseph appears as a figure in need of help. He always seems to be unable to control his every move, thus getting himself into constant trouble. But beneath his seemingly surly exterior hides a lonely heart. He has few friends. His only pet dog was also kicked to death by his rage. Living in the "lower corner", he faced the darkness and cramps of dirty streets and his own cramped shack all day. And Hannah appeared in front of the audience as a rescuer. Faithful in God, she seems to have an enviable and stable life. She tried to use the name of God to enlighten Joseph who was hiding in the charity shop. However, as the plot progresses, we see that under Hannah's calm surface lies the forbearance and fear of domestic violence. And God is just an excuse for her to suffer trauma, and use this to numb her inner pain and escape the cruelty of reality. It can be said that although the two are up and down on the surface, they are both lonely and helpless inside.
Corresponding to the two are two frightening characters - Joseph's gangster boyfriend Bod (Paul Popplewell) and Hannah's husband James (Eddie Marsan). The former is more violent than Joseph. Carrying a fighting dog all day for the pleasure of bullying the weak. The latter is the representative of hypocrisy. In front of outsiders, he wears a refined mask, while at home he tortures his wife's body and mind from time to time. The former is always hooting at his girlfriend's son, and ruthlessly throws the little boy's beloved toy to his vicious dog for fun; the latter is always suspicious and constantly monitoring his wife's actions. Although the two are in different classes of society, they both represent moral decline and serious social problems. At the same time, the boy's wounded face and Hannah's imprisonment are both confounding and lamenting about the deep problems of British society. The film does not paint Britain as a country of absolute despair. The ending gradually turns to bright color processing, which makes people feel a little bit of hope.
However, despite the film's focus on social problems, it fails to provide a substantive solution to the problem. Perhaps, for many Britons, this is a difficult and difficult question to answer. The unreasonable social welfare system not only helps people in need, but also supports a group of street gangsters like Bod who rely on welfare and do nothing all day. These people are often poorly educated, less self-motivated, and never have any hope for their future. They rely on government relief to eat and wait to die. This group of young people who like to put on an attitude of "I am a hooligan, who is afraid of who" will always make some slightly older or educated people sigh that the world is getting worse. And the hypocrites represented by James rarely really care about social issues. For this group of people, their own self-interest, power, and interests are fundamental. And the common people, like Joseph and Hannah, who are intermingled between the two, often appear weak and powerless in the face of such a problem. Of course, filmmakers are not social experts or policy makers. For the problem that makes the Prime Minister and others have a headache, if they have to give a clear solution in one or two movies, it seems that some strong people are difficult. Therefore, for films like "Tyrannosaurus" and "This Is England" that can focus on and excavate realistic themes, people have seen the sensitivity of British filmmakers to social issues, and they have to feel the sincerity they show. admire.
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